Jekyll & Hyde: A Musical Thriller
by Mc5TenforTwo
Summary: Fan screenplay adaptation of the Leslie Bricusse/Frank Wildhorn tuner, based largely on the FCLO version of the show, with a twist of the "Resurrection" recording in there as well. THIS IS PURELY A FAN EFFORT AND SHOULD NOT BE CONSTRUED AS AN OFFICIAL SCREENPLAY OF ANY KIND. I OWN NONE OF THIS.
1. Title Page

JEKYLL AND HYDE

Adaptation by  
Paul Hadobas &amp; Jan Duncan

Screenplay by  
Mc5TenforTwo

Lyrics by  
Leslie Bricusse

Music by  
Frank Wildhorn

Based on the Stage Musical  
"Jekyll &amp; Hyde"

Conceived for the stage by Steve Cuden &amp; Frank Wildhorn  
Book &amp; Lyrics by Leslie Bricusse  
Music by Frank Wildhorn

Screenplay  
Copyright © 2014 Mc5TenforTwo


	2. Cast of Characters

CHARACTERS

_(In order of appearance)_

** HENRY JEKYLL  
** AN INMATE  
** SIR DANVERS CAREW  
** SIMON STRIDE  
** THE BOARD OF GOVERNORS: Sir Archibald Proops, Lord Savage, General Lord Glossop, Lady Beaconsfield, The Bishop of Basingstoke  
** GABRIEL JOHN UTTERSON  
** EMMA CAREW  
** NELLIE  
** LUCY HARRIS  
** POOLE, manservant  
** EDWARD HYDE  
** BISSET, apothecary  
** PEOPLE OF LONDON: aristocrats, street people, prostitutes, servants, society guests, policemen, customers


	3. Song List

MUSICAL NUMBERS

_(Broken down by chapter)_

**Chapter One**

PROLOGUE / I NEED TO KNOW - Jekyll  
FAÇADE - The Company  
JEKYLL'S PLEA - Jekyll &amp; the Board of Governors  
STRIDE'S APOLOGY - Stride  
PURSUE THE TRUTH / FAÇADE (Reprise) - Jekyll, Utterson, Company

**Chapter Two**

EMMA'S REASONS - Emma &amp; Stride  
I MUST GO ON - Jekyll &amp; Emma  
TAKE ME AS I AM - Jekyll &amp; Emma  
STRIDE'S CONFESSION - Stride

**Chapter Three**

BRING ON THE MEN - Lucy &amp; Girls  
LUCY MEETS JEKYLL - Lucy &amp; Jekyll  
THE GIRLS OF THE NIGHT - Nellie, Lucy &amp; Girls

**Chapter Four**

NOW THERE IS NO CHOICE - Jekyll  
THIS IS THE MOMENT - Jekyll  
TRANSFORMATION - Jekyll &amp; Hyde  
ALIVE - Hyde

**Chapter Five**

IF YOU ONLY KNEW - Emma  
SYMPATHY, TENDERNESS - Lucy  
SOMEONE LIKE YOU - Lucy  
ALIVE (Reprise) - Hyde

**Chapter Six**

MURDER, MURDER - The Company

**Chapter Seven**

ONCE UPON A DREAM - Emma  
NO ONE KNOWS WHO I AM - Lucy  
IT'S A DANGEROUS GAME - Lucy &amp; Hyde

**Chapter Eight**

REFLECTIONS (Jekyll's Soliloquy) - Jekyll  
IN HIS EYES - Emma &amp; Lucy  
THE WAY BACK - Jekyll

**Chapter Nine**

A NEW LIFE - Lucy  
SYMPATHY, TENDERNESS (Reprise) - Hyde  
THE WORLD HAS GONE INSANE - Jekyll  
CONFRONTATION - Jekyll &amp; Hyde

**Chapter Ten**

FAÇADE (Reprise) - Stride &amp; Company  
LETTING GO - Danvers &amp; Emma  
THE WEDDING - Jekyll, Emma &amp; Company  
ONCE UPON A DREAM (Reprise) - Emma &amp; Jekyll


	4. Chapter 1

FADE IN:

EXT. NEGLECTED SQUARE BEHIND HARLEY STREET - LONDON - DAY

A thick ribbon of grey-brown fog drifts across the square,  
and hangs suspended before a soiled red brick wall, several  
stories in height, with a single low wooden door, and not one  
window. If there were once windows, they have been bricked or  
boarded up long ago: a forbidding façade which adamantly  
holds something out... or holds something in?

Occasionally the fog is penetrated by the mournful wail of a  
river barge's horn, by the sound of iron-shod horses' hooves  
and iron wheels on cobblestones; then, startlingly, by the  
shriek of a small animal being slaughtered, not far away. The  
shriek is silenced, to be followed, seconds later, by an  
ascending wisp of innocent unearthly voices, as though a soul  
or souls were winding upward through the fog and blending,  
vanishing into the ether - "the angels weeping," an  
indecipherable yet unforgettable sound we will hear again,  
occasionally, throughout the film.

Strange noises and threatening technological thrums build to  
an atmosphere of ominous anticipation. On a final crashing  
chord, lightning and thunder hit.

MUSIC: "PROLOGUE"

**JEKYLL (V.O.)**  
_(hushed and fevered, out  
of the darkness)_  
In each of us there are two  
natures. If this primitive duality  
of man – good and evil – could be  
housed in separate identities, life  
would be relieved of all that is  
unbearable. It is the curse of  
mankind that these polar twins  
should be constantly struggling.

On a sharp dissonant chord, the fog and the high soiled brick  
wall dissolve, to reveal what was once within:

INT. JEKYLL'S LABORATORY

It would be spacious, were it not crowded with tables  
intersecting at bizarre angles with other tables, all laden  
with vials, Bunsen burners, beakers, retorts, glass tubing,  
every sort of chemical equipment, with various brilliantly  
colored drugs and compounds glowing inside; and with more  
gleaming glass presses with more gleaming scientific  
paraphernalia inside them; and with models of human busts  
and skulls with the insides revealed; and with charts  
and graphs and tablets, recording hundreds of previous  
experiments; and with numerous gas jets giving off a  
pure sterile glow; all dominated by an enormous, gilt-framed  
mirror.

We pan past a clothes rack with old hat &amp; coat hanging from  
it; a drain basin; a wash basin, with a pitcher and towel;  
and arrive at a writing table topped with a hand-dimming  
hurricane lamp, an island surrounded by the sea of scientific  
apparatus. A thick journal of previous work lies open on the  
desk. Not sitting, a MAN (DR. HENRY JEKYLL) leans over the  
journal, writing rapidly, pausing only to dip his pen in the  
inkwell.

SONG: "I NEED TO KNOW"

(Note: All lyrics appear in CAPS.)

**JEKYLL**  
I NEED TO KNOW  
THE NATURE OF THE DEMONS  
THAT POSSESS MAN'S SOUL!  
I NEED TO KNOW  
WHY MAN'S CONTENT TO  
LET THEM MAKE HIM  
LESS THAN WHOLE

During the following verse, Jekyll crosses to wash bowl,  
pours water and washes, then dries his hands on a towel.

**JEKYLL (CONT'D)**  
WHY DOES HE REVEL  
IN MURDER AND MADNESS?  
WHAT IS IT MAKES HIM BE  
LESS THAN HE SHOULD?  
WHY IS HE DOOMED  
NOT TO REACH HIS POTENTIAL?  
HIS SOUL IS BLACK  
WHEN HE TURNS HIS BACK  
UPON GOOD

I NEED TO FIND  
A WAY TO GET INSIDE  
THE TORTURED MIND OF MAN  
I NEED TO TRY  
TO SEPARATE THE  
GOOD AND EVIL... IF I CAN

He moves to a table (any table will do), and begins mixing  
some chemicals.

**JEKYLL (CONT'D)**  
ONE THING IS CERTAIN -  
THE EVIL IS STRONGER  
GOOD FIGHTS A HOPELESS AND  
DESPERATE FIGHT  
I MUST FIND WAYS  
OF ADJUSTING THE BALANCE  
TO BRING HIM BACK  
FROM THE EMPTY BLACK  
EDGE OF NIGHT!

I NEED TO GO  
WHERE NO MAN HAS VENTURED BEFORE  
TO SEARCH FOR THE KEY TO THE DOOR  
TO END ALL THIS SENSELESS AND  
TRAGIC DECAY!  
BUT HOW TO GO?  
I NEED TO KNOW!

Seizing the hat and coat from the rack, he throws them round  
him with a violent gesture and ventures out of the lab.

EXT. SQUARE BEHIND HARLEY STREET - DAY

Jekyll leaves the building from our opening, which is...

...a very different building indeed from how we first saw it.  
There are several windows, not bricked over; it looks like a  
respectable middle-class home. The winds of time have  
restored this once magnificent building from its former  
shabbiness. (It should feel as though the film has just  
switched from black and white to color, without the literal  
effect.)

Jekyll is striding down the street purposefully and fiercely  
in an authoritative and single-minded mood. We truly see him  
for the first time. Young, ardent, perfectly turned-out.

**JEKYLL**  
I NEED TO LEARN  
THE SECRETS OF THE MIND  
THAT WE CANNOT DISCERN  
I NEED TO LEARN  
THE THINGS THAT MAKE  
MEN PASS THE POINT OF NO RETURN

WHY DOES A WISE MAN  
TAKE LEAVE OF HIS SENSES?  
WHERE IS THAT FINE LINE  
WHERE SANITY MELTS?  
WHEN DOES INTELLIGENCE  
GIVE WAY TO MADNESS?  
A MOMENT COMES WHEN A MAN BECOMES  
SOMETHING ELSE...

I NEED TO KNOW  
WHY MAN PLAYS THIS STRANGE  
DOUBLE GAME!  
HIS HAND ALWAYS CLOSE TO THE FLAME!  
IT'S A DEAL WITH THE DEVIL  
HE CANNOT DISCLAIM!  
BUT WHAT'S HIS AIM?  
I NEED TO KNOW!

INT. ST. JUDE'S HOSPITAL WARD

The violent ward of a modern (circa 1888) mental hospital.  
Bodies are spread-eagled, stripped or partially covered,  
strapped to wooden tables. A sour smell of sickness and  
delusion permeates everything. SIR DANVERS CAREW, a gentleman  
in his late years, serious and correct, is making his rounds  
and speaking with another DOCTOR.

A high partition of glass encloses the ward. Beyond the glass  
we can see DOCTORS, NURSES, ATTENDANTS, and the visiting  
PUBLIC, moving about in their curious soundless world,  
ignoring, or glancing disinterestedly into, the violent ward.

Jekyll enters, having reached his apparent destination.

**JEKYLL**  
DEAR GOD, GUIDE ME...  
SHOW ME HOW TO SUCCEED!  
WITH YOUR WISDOM INSIDE ME,  
HENRY JEKYLL WILL FOLLOW  
WHEREVER YOU LEAD!

I NEED TO SEE  
THE TRUTH OTHER MEN CANNOT SEE  
TO BE THINGS THAT OTHERS CAN'T BE  
GIVE ME THE COURAGE TO GO  
WHERE NO ANGEL WILL GO  
AND I WILL GO!  
I NEED TO KNOW!

On the final chord of the MUSIC, there is a chilling outcry,  
and a combative OLD MAN in a wheelchair appears, pushed by a  
NURSE. As she struggles to put him in restraints, he screams  
and fights her. Jekyll rushes to take over the situation. He  
removes the restraints and he tries to calm the old man.

DANVERS observes for a moment, nods to the nurse to excuse  
her.

**DANVERS**  
He's beyond help, Henry.

**JEKYLL**  
That's no reason to treat him like  
an animal! He's still a man.

Jekyll calms the old man and covers him with his lap robe.

**DANVERS**  
But he behaves like an animal,  
Henry. He's dangerous! Catatonic  
one minute, then unprovoked attacks  
the next...

**JEKYLL**  
Sir Danvers, he still has emotional  
responses as sensitive as any of  
ours! He's a prisoner. How can we  
call ourselves civilized, if we are  
not prepared to help him...  
_(gesturing to the other_  
_bodies, strapped to_  
_tables, all around him)_  
...and every wretched soul like him?

**DANVERS**  
Death will help him, Henry.

**JEKYLL**  
There is a better solution.

**DANVERS**  
He is lost, Henry! You will never  
reach him.

**JEKYLL**  
I have to try!

**DANVERS**  
You have tried everything!

**JEKYLL**  
Not true! Drugs can catalyze this –  
a combination of rare drugs –

**DANVERS**  
Henry, these "experiments"...!  
You're a gifted man, Henry.  
Cultivate your life here at the  
hospital. I want a son-in-law I can  
be proud of.

Jekyll continues to stare down at the old man, as a doctor  
draws Sir Danvers aside.

Jekyll goes to the old man, kneels by his side. The old man  
is now resting peacefully. In the background, we gradually  
become aware of the distant, oddly rhythmic sound of heavy  
footsteps, many of them, on cobblestones, almost like an  
uprising or demonstration, moving toward us from far away and  
underneath...

Jekyll tenderly kisses the old man's cheek and embraces him,  
as he gets his hat and prepares to leave.

**JEKYLL**  
Good night, Father.

As he turns away, and follows the departed Sir Danvers, the  
sound of many footsteps draws nearer and nearer.

SMASH CUT TO:

EXT. STREETS OF LONDON (CREDITS SEQUENCE) - DAY

MONTAGE: Quick documentary images and sounds. Heightened.  
The cinematic equivalent of turning a radio dial through  
1880's London. Beggars. Hawkers. Stevedores and sailors on  
their way to the quay. Ladies and gentlemen of quality, and  
of no quality. Tradesmen. Tradeswomen.

(NOTE: The choices in editing determine which lines might be  
solos, as well as who should sing them. Solos listed below  
are merely a suggestion.)

SONG: "FAÇADE"

**FIRST MAN**  
THERE'S A FACE THAT WE WEAR  
IN THE COLD LIGHT OF DAY  
IT'S SOCIETY'S MASK  
IT'S SOCIETY'S WAY  
AND THE TRUTH IS  
THAT IT'S ALL A FAÇADE!

**SECOND MAN**  
THERE'S A FACE THAT WE HIDE  
TILL THE NIGHTTIME APPEARS  
AND WHAT'S HIDING INSIDE  
BEHIND ALL OF OUR FEARS  
IS OUR TRUE SELF LOCKED  
INSIDE THE FAÇADE!

**ALL**  
EVERY DAY,  
PEOPLE IN THEIR OWN SWEET WAY  
LIKE TO ADD A COAT OF PAINT  
AN' BE WHAT THEY AIN'T!

**FIRST MAN**  
THAT'S HOW OUR LITTLE

**ALL**  
GAME IS PLAYED  
LIVIN' OUT A MASQUERADE -  
ACTIN' A BIZARRE CHARADE

**THIRD MAN**  
WHILE PLAYING THE SAINT!

BUT THERE'S ONE THING I KNOW -  
AN' I KNOW IT FOR SURE -  
THIS DISEASE THAT WE'VE GOT  
HAS GOT NO READY CURE -  
AN' I'M CERTAIN  
LIFE IS TERRIBLY HARD

**ALL**  
WHEN YOUR LIFE'S A FAÇADE!

**WOMEN**  
LOOK AROUND YOU  
I HAVE FOUND YOU CANNOT TELL  
BY LOOKIN' AT THE SURFACE  
WHAT IS LURKIN' THERE BENEATH IT!

**FIRST WOMAN**  
SEE THIS FACE -  
NOW I'M PREPARED TO BET YOU  
WHAT YOU SEE'S NOT WHAT YOU GET -  
'CAUSE MAN'S A MASTER OF DECEIT!

**ALL**  
SO WHAT IS THE SINISTER SECRET?  
THE LIE HE WILL TELL YOU IS TRUE?

**FOURTH MAN**  
IT'S THAT EACH MAN YOU MEET  
IN THE STREET ISN'T ONE MAN,  
BUT TWO!

**CROWD**  
NEARLY EVERYONE YOU MEET  
WHILE WALKING DOWN A LONDON STREET  
PRETENDS TO BE A PILLAR OF SOCIETY!

**WOMEN**  
A MODEL OF PROPRIETY,

**MEN**  
SOBRIETY AND PIETY

**WOMEN**  
WHO SHUDDERS AT THE THOUGHT OF  
NOTORIETY!

**CROWD**  
THE LADIES AND GENTS HERE  
BEFORE YOU -  
WHICH NONE OF US EVER ADMITS -

**SOME**  
MAY HAVE SAINTLY LOOKS,

**OTHERS**  
BUT WE'RE SINNERS AN' CROOKS -

**SOME**  
HYPOCRITES!

**CROWD**  
HYPOCRITES!

**SOME**  
THERE ARE PREACHERS WHO KILL!

**OTHERS**  
THERE ARE KILLERS WHO PREACH!

**SOME**  
THERE ARE TEACHERS WHO LIE!

**OTHERS**  
THERE ARE LIARS WHO TEACH!

**WOMEN**  
TAKE YOUR PICK, DEAR

**CROWD**  
'CAUSE IT'S ALL A FAÇADE!

**FIRST MAN**  
YOU MUST SEEM TO BE RICH  
AND HAVE MONEY TO BURN!

**SECOND MAN**  
EVEN THOUGH IT'S A BITCH

**FIRST MAN**  
SPENDING MORE THAN YOU EARN!

**SECOND MAN**  
THAT'S THE GAME HERE

**CROWD**  
TO BREAK THROUGH THE FAÇADE!

ONE OR TWO MIGHT  
LOOK KINDA WELL-TO-DO - (HAH!)  
THEY'RE AS BAD AS ME AN' YOU  
RIGHT DOWN TO THEIR BOOTS

**FOURTH MAN**  
I'M INCLINED TO THINK

**CROWD**  
HALF MANKIND THINKS  
THE OTHER HALF IS BLIND  
WOULDN'T BE SURPRISED TO FIND

**SECOND MAN**  
THEY'RE ALL IN CAHOOTS!

**CROWD**  
AT THE END OF THE DAY,  
WE DON'T MEAN WHAT WE SAY  
WE DON'T SAY WHAT WE MEAN  
WE DON'T EVER COME CLEAN

**THIRD MAN**  
AN' THE ANSWER

**CROWD**  
IS IT'S ALL A FAÇADE!

MAN IS NOT ONE BUT TWO  
HE IS EVIL AND GOOD  
AND HE WALKS A FINE LINE  
WE'D ALL CROSS IF WE COULD

**THIRD MAN**  
IT'S A NIGHTMARE

**FIRST MAN**  
WE CAN NEVER DISCARD

**THIRD MAN**  
SO WE STAY ON OUR GUARD

**SECOND MAN**  
THOUGH WE LOVE THE FAÇADE!

**SOME**  
WHAT'S BEHIND THE FAÇADE?

**FOURTH MAN**  
LOOK BEHIND THE FAÇADE!

INT. HOSPITAL OPERATING THEATER

An operating theater in a fashionable clinic. Again, there is  
much gleaming glass, including a high partition, which here  
separates observers (in tiered rows) from practitioners.  
Sudden stunned silence, permeated by the smell of ether and  
other exotic chemicals.

In the operating arena, Jekyll waits, beside a gleaming steel  
table on which are displayed various graphs and maps of the  
human mind and personality. UTTERSON watches from the extreme  
periphery of the operating arena. SIMON STRIDE stands, in the  
first row of seats behind the glass partition. He is a  
correct, pinched young man of Jekyll's generation.

**STRIDE**  
The Board of Governors of St.  
Jude's Hospital is now in session.  
Sir Danvers Carew, K.B.E.,  
Chairman...

Sir Danvers nods or waves from behind the glass partition.

**STRIDE (CONT'D)**  
The Right Honorable Sir Archibald  
Proops, Q.C. ...

PROOPS, a plump, pompous specimen, quick, methodical, all  
business, merely sighs from his perch at the top of the  
tiered rows behind the glass partition.

**STRIDE (CONT'D)**  
Lord Savage...

Unlike his name, SAVAGE is frail, wasted, and into his  
dotage. Very much a man-about-town, with other (more  
important) things to be doing this afternoon.

**STRIDE (CONT'D)**  
General Lord Glossop...

THE GENERAL is middle-aged, formidable, but given to drink,  
and perhaps to repairing his ravaged complexion with  
cosmetics. Ramrod straight. Cruel mouth. He sits somewhat  
apart from the others, behind the partition.

**STRIDE (CONT'D)**  
Lady Beaconsfield...

Enormously impressive and somber, this well-dressed older  
woman, sitting beside Sir Danvers, wafts her blessings, then  
frowns impressively down at Jekyll.

**STRIDE (CONT'D)**  
His Grace The Bishop of  
Basingstoke...

THE BISHOP, a portly florid giant in clerical purple sitting  
on Sir Danvers's other side, waves, as though wafting his own  
blessing.

The Board of Governors is assembled.

**DANVERS**  
The order of business will be  
conducted by - the Secretary to the  
Board of Governors, Mr. Simon Stride.

Stride bows to the group and takes his place at his desk. He  
opens the Minutes Book.

**SAVAGE**  
_(grumbling)  
_Let's get on with it!

**STRIDE**  
Proposal No. 929 - Presented by Dr.  
Henry Jekyll.

The BOARD immediately erupts into pandemonium. It is a rumpus  
reminiscent of normal procedure in the British House of  
Commons. He appears to be "on trial" due to his radical  
proposals. Shouting over one another, the distinguished  
GOVERNORS' behavior is anything but distinguished.

**STRIDE (CONT'D)**  
_(banging his gavel)_  
Order! Order! The Chairman will  
address the Board.

Mumbling and grumbling, the GOVERNORS resume their stations.  
Sir Danvers speaks over the receding hubbub.

**DANVERS**  
My friends! We are all well aware  
of the highly controversial nature  
of Doctor Jekyll's research. But  
our high regard for his work and  
reputation demand that he be  
allowed to present his request...

The BOARD OF GOVERNORS mutters and squirms a bit more.

**DANVERS (CONT'D)**  
Henry...

The BOARD then focuses its attention on Jekyll, who bows, a  
bit too respectfully, so that his irony shows - as it does in  
the tone of voice:

SONG: "JEKYLL'S PLEA"

**JEKYLL**  
DISTINGUISHED GOVERNORS,  
I HAVE GLIMPSED THE FUTURE  
SEEN MIRACLES THAT STUN THE MIND  
AND MARVELS ONLY SCIENCE CAN FIND  
TO SHAPE TOMORROW FOR MANKIND.  
AND I CAN SHOW THEM TO YOU  
IF YOU WISH ME TO.

**STRIDE**  
Dr. Jekyll, may we dispense with  
the niceties and proceed to the  
matter at hand?

**JEKYLL**  
Of course, Mr. Stride, forgive my  
good manners.  
_(sings)  
_FRIENDS, YOU'RE AWARE  
THERE ARE TWO SIDES TO EACH OF US  
GOOD AND EVIL  
COMPASSION AND HATE.

IF WE COULD EXTRACT ALL  
THE EVIL FROM EACH OF US  
THINK OF THE WORLD THAT  
WE COULD CREATE!

A WORLD WITHOUT ANGER  
OR VIOLENCE OR STRIFE -  
WHERE MAN WOULDN'T KILL ANY MORE!  
A WORLD OF COMPASSION  
WHERE PASSION FOR LIFE  
WOULD BANISH THE MADNESS OF WAR!

I'M CLOSE TO FINDING  
THE KEY TO DUALITY  
CHEMICAL FORMULAE WHICH  
COULD AND WOULD  
ALTER THE PATTERNS OF  
MAN'S PERSONALITY  
GUIDING HIM EITHER TO EVIL OR GOOD!

WEIGH THE POTENTIAL  
THE GREAT POSSIBILITIES  
COLLEAGUES - DEAR FRIENDS -  
UNDERSTAND!  
WE HAVE A CHANCE  
TO MAKE HISTORY HERE IN OUR HAND!  
_(spoken)_  
Governors, I believe that the day  
is not far off that we could  
ultimately eliminate evil from all  
mankind. My experiments with  
animals have convinced me that  
behavioral control is achievable. I  
must be permitted now to test my  
formula on a human subject.

**BISHOP**  
Are you suggesting a patient - from  
our hospital?

**BEACONSFIELD**  
What! To be prodded and tested like  
a laboratory rat?!

**JEKYLL**  
A volunteer. Someone who would be  
willing to help prove my theory –  
for the betterment of all mankind!

**PROOPS**  
A volunteer mental patient?  
_(a sarcastic aside to the_  
_Bishop next to him)_  
Very good!

**JEKYLL**  
A man whom society has abandoned as  
hopeless, an inmate of this prison!

**DANVERS**  
Prison? Henry!

**JEKYLL**  
_(passionately)  
_THERE ARE DOOMED, BROKEN SOULS  
IN A THOUSAND ASYLUMS  
LEFT THERE TO ROT  
FOR THE LACK OF A PLAN!  
IN THE NAME OF COMPASSION  
AND MEDICAL SCIENCE,  
I CAN SAVE MANY LIVES  
IF YOU GIVE ME ONE MAN!

**BISHOP**  
_(with great pomp)_  
I TELL YOU NOW  
THE CHURCH WILL NEVER SANCTION IT!

**ALL**  
_(variously)_  
SACRILEGE! LUNACY!  
BLASPHEMY! HERESY!

**PROOPS**  
BEWARE SIR, YOU'RE TREADING  
ON DANGEROUS GROUND -  
IN LEGAL TERMS,  
I'D SAY, EXTREMELY UNSOUND!

**BISHOP**  
YOUR LACK OF HUMILITY  
STRIKES ME AS ODD  
WHAT MAKES YOU THINK YOU  
HAVE THE RIGHT TO PLAY GOD!

**SAVAGE**  
THE BISHOP SPEAKS FOR ALL OF US  
WHEN HE SAYS YOU'RE PLAYING GOD!  
THERE'S SUCH A THING AS ETHICS -  
OVER WHICH YOU RIDE ROUGH-SHOD!

**STRIDE**  
YOU'RE A DOCTOR, NOT OUR SAVIOR,  
DOCTOR JEKYLL, FOR A START! -  
BUT I JUDGE FROM YOUR BEHAVIOR  
YOU CAN'T TELL THE TWO APART!

**JEKYLL**  
DEAR MR. STRIDE,  
I AM SIMPLY A SCIENTIST  
I HAVE A CODE,  
TO WHICH I REMAIN TRUE!  
I DON'T PRESUME  
TO THE STATURE OF MORALIST  
I LEAVE PRETENSION LIKE THAT, SIR,  
TO YOU!

**DANVERS**  
HENRY, I'VE ALWAYS ENCOURAGED  
YOUR ENTERPRISE  
AND I'VE BEEN HOPEFUL  
THAT YOU WOULD SUCCEED!  
BUT IN THE FACE OF THESE  
POWERFUL ARGUMENTS,  
I SEE NO CHOICE BUT  
FOR YOU TO CONCEDE!

**JEKYLL**  
_(to Danvers)_  
I KNOW MY FATE IS YOURS TO CHOOSE  
BUT IF I FAIL,  
THE WORLD WILL LOSE  
I AM ON THE BRINK OF GREAT SUCCESS!  
_(to Governors)_  
I BEG YOU, GOVERNORS -  
YOU MUST SAY "YES"!

**BEACONSFIELD**  
DOCTOR JEKYLL,  
ENOUGH OF YOUR RANTING, SIR!  
THIS IS A HOSPITAL  
HERE TO SAVE LIVES!

**GOVERNORS**  
DO YOU THINK WE WOULD LET  
YOU PLAY HAVOC WITH ALL  
THE HIGH PRINCIPLES  
TOWARD WHICH IT STRIVES!

DO YOU EXPECT US TO COMPROMISE  
ALL THAT WE STAND FOR  
INDULGING YOUR DANGEROUS GAMES?  
HOW MANY RULES SHOULD WE BREAK  
FOR YOUR DUBIOUS AIMS?

**JEKYLL  
**_(frustrated)  
_CAN'T YOU SEE?  
I AM NOT PLAYING GAMES!  
JUST GIVE ME THE OPPORTUNITY!

**GLOSSOP**  
THIS WHOLE THING'S TOO BIZARRE!

**DANVERS**  
OPEN UP YOUR EYES AND SEE!

**BISHOP**  
THIS MAN HAS GONE TOO FAR!

**JEKYLL**  
UNLESS YOU LISTEN TO ME...

**STRIDE**  
DOCTOR, PLEASE WATCH YOUR TONE!  
DAMMIT, MAN, CAN'T YOU SEE?  
YOU'RE ON YOUR OWN!

By now, all tempers are frayed. Jekyll sees the Board of  
Governors baying at him like a pack of wolves.

**JEKYLL**  
FOOLS!

**DANVERS**  
HENRY!

**JEKYLL**  
YOU FOOLS!

**PROOPS**  
JEKYLL!

**JEKYLL**  
GOD DAMN...

**BISHOP**  
BLASPHEMY!

**JEKYLL**  
...YOUR RULES!

**GLOSSOP**  
MUTINY!

**JEKYLL**  
LOOK AT YOURSELVES!

**SAVAGE**  
DAMN ME!

**JEKYLL**  
CIVILIZED MEN!

**BEACONSFIELD**  
REALLY!

**JEKYLL**  
WHY CAN'T YOU SEE?!

**DANVERS**  
HENRY!

**STRIDE**  
_(banging his gavel)_  
Order! Order!

**JEKYLL**  
If I ever needed further  
justification for my experiments,  
gentlemen, you have just provided it!  
_(sung)_  
JUST LOOK AT WHAT HAS HAPPENED HERE  
MIX ANGER WITH A TOUCH OF FEAR  
THE DANGER'S ALL TOO CRYSTAL-CLEAR  
JUST LOOK AT YOU -  
OUR DARKER SIDE  
KEEPS BREAKING THROUGH  
OBSERVE IT NOW - IN ME AND YOU!  
THE EVIL THAT ALL MEN CAN DO  
MUST BE CONTROLLED!  
I BEG OF YOU  
I'LL SHOW YOU ALL  
IT CAN BE DONE!  
_(regains his calm)  
_HERE IS A CHANCE TO TAKE  
CHARGE OF OUR FATE  
DEEP DOWN YOU MUST KNOW  
THAT TOMORROW'S TOO LATE!  
ONE RULE OF LIFE  
WE CANNOT REARRANGE –  
THE ONLY THING CONSTANT IS CHANGE  
THE ONLY THING CONSTANT IS CHANGE.

**STRIDE**  
DISTINGUISHED COLLEAGUES,  
YOUR VERDICT, PLEASE.  
ALL THOSE IN FAVOR SAY "AYE".

A chilling silence fills the room. Stride smiles a thin  
smile.

**STRIDE (CONT'D)  
**All those opposed, "Nay."

**GOVERNORS**  
_(ensemble)_  
NAY! NAY! NAY! NAY!  
ABSOLUTELY – POSITIVELY – NAY!

**STRIDE**  
SIR DANVERS?

**DANVERS**  
_(glancing plaintively at_  
_Jekyll)_  
I abstain.

**STRIDE**  
_(with smug satisfaction)_  
By five votes to none, with one  
abstention, Doctor Jekyll's  
extraordinary proposal is rejected.  
_(bangs gavel)_  
Thank you for your time, Doctor  
Jekyll.

The Board rise to their feet and disperse - muttering to one  
another about the Jekyll scandal. "Shameful!" "Disgusting  
exhibition."

**SAVAGE**  
Who wants to take me to luncheon?  
Bessie?

**BEACONSFIELD**  
No, Herbert, I've heard enough  
demented babbling for one day.

They leave.

**DANVERS**  
I'm profoundly sorry, Henry. I did  
try to prepare you.

He leaves as Stride addresses Jekyll.

Song: "STRIDE'S APOLOGY"

**STRIDE**  
I'M SO SORRY, DOCTOR JEKYLL.  
WHAT A REALLY ROTTEN SHAME!  
I SO HOPE THAT WHAT HAS HAPPENED  
WON'T DESTROY YOUR PRECIOUS NAME.

He leaves. Utterson comes over to Jekyll.

**UTTERSON**  
Well... you've finally convinced  
them... that you're mad!

**JEKYLL**  
They set themselves up as "friends  
of medicine," John, but they're  
hypocrites, every last one of them!

**UTTERSON**  
Yes, but they're powerful  
hypocrites, Henry. You should  
exercise caution.

**JEKYLL**  
I can't afford caution!

SONG: "PURSUE THE TRUTH"

**JEKYLL (CONT'D)**  
HOW CAN I PURSUE THE TRUTH  
WHEN THEY CAN BLOCK  
EACH STEP I TAKE?

**UTTERSON**  
HENRY, YOU HAVE COME THIS FAR  
REMEMBER WHAT YOU HAVE AT STAKE!

**JEKYLL**  
JOHN, I KNOW I'M RIGHT!  
I HAVE LET MY VISION GUIDE ME  
I'M SO WEARY OF THIS FIGHT  
THERE'S SO LITTLE LEFT INSIDE ME.

**UTTERSON**  
IF YOU KNOW THAT YOU ARE RIGHT  
THEN YOU'VE GOT TO SEE IT THROUGH  
YOU'VE GOT TO SEE IT THROUGH!

**JEKYLL**  
SEVEN YEARS AGO  
I STARTED OUT ON THIS ALONE  
AND IT'S ALONE I'LL SEE IT THROUGH  
TO ITS CONCLUSION

WHO ARE THEY TO JUDGE  
WHAT I AM DOING?  
THEY KNOW NOTHING OF THE  
ENDLESS POSSIBILITIES I SEE!  
IT'S LUDICROUS  
I'M BOUND BY THEIR DECISION

**UTTERSON**  
SEEMS VISION IS A WORD  
THEY'VE NEVER HEARD!

**JEKYLL**  
IF IT MATTERED LESS,  
I'D TREAT IT WITH DERISION  
IT'S ABSURD!

**UTTERSON**  
_(smiling)_  
AND YET THE FACT REMAINS  
THOSE BASTARDS HOLD THE REINS!

Already, underneath the preceding few lines of music, hooves,  
harness, and carriage wheels have been heard, approaching.

CUT TO:

EXT. SIR DANVERS' HOUSE - NIGHT

Establishing shot: the composed and regal façade of Sir  
Danvers Carew's elegant John Nash Regency house in Regent's  
Park, immaculate, stately, lit by gaslight and torches.  
Immaculate and stately LADIES and GENTLEMEN of quality are  
arriving for a fête, and proceeding within the edifice,  
assisted and observed by FOOTMEN, MAIDS, MANSERVANTS...

SONG: "FAÇADE" (reprise)

**1ST MANSERVANT  
**IF YOU LIVE AROUND HERE  
YOU NEED CASH IN THE BANK  
'CAUSE THE HOUSES 'ROUND HERE  
ARE ALL FLASHY AND SWANK  
AN' THE FRONT BIT IS  
WHAT'S CALLED A FAÇADE.

**FOOTMEN, MAIDS, MANSERVANTS  
**IF YOU LIVE AROUND HERE  
YOU NEED LOTS OF PANACHE!  
IF YOU LIVE IN TOWN, DEAR,  
THEN YOU MUST CUT A DASH!  
'TISN'T HARD, DEAR,  
TO CREATE A FAÇADE!

**1ST MANSERVANT  
**HERE TONIGHT IT'S FESTIVE  
BUT THE GUESTS ARE GETTING RESTIVE  
'CAUSE THE GUEST OF HONOR'S  
CAUSING A DILEMMA!

**FOOTMEN, MAIDS, MANSERVANTS  
**DOCTOR JEKYLL'S TARDY  
FOR HIS OWN ENGAGEMENT PARTY  
HIS BETROTHAL TO  
SIR DANVERS' DAUGHTER, EMMA!

The PARTY GUESTS are now all within. FOOTMEN, MAIDS AND  
MANSERVANTS withdraw, or likewise disappear within, as the  
façade of the stately edifice dissolves, to reveal what is  
within:


	5. Chapter 2

INT. SIR DANVERS' HOUSE

A swirling waltz fills the soundtrack - this large, elegant,  
dressy party is in full swing. The drawing room is spacious  
and grand, all marble, mahogany, and mirrors, festively  
decorated, but maintaining a Victorian coolness. A staircase  
dominates the scene, and a large chandelier overhangs the  
guests.

In the far background, LADIES and GENTLEMEN attempt to amuse  
one another on the garden terrace, dancing, drinking,  
gossiping.

Nearer to us is an entrance hall, crowded with flowers for  
the fête, and with SERVANTS, welcoming and waiting on GUESTS.

As some dance to the music, others flutter around and flatter  
the distinguished central figure, the host of the ball, Sir  
Danvers, who is equally charming to everyone, despite their  
sometimes exaggerated degrees of social affectation.

A group of the rigid Board from St. Jude's is present -  
gossiping about the events of this afternoon, still in a flap about  
Jekyll's behavior. Utterson is greeted by Danvers and  
Stride in the entrance hall, is relieved of his hat and coat,  
and then joins the Governors.

**SAVAGE**  
If Jekyll's as clever as they say  
he is, what's he doing trying to  
save paupers and madmen?

**GLOSSOP**  
Disgraceful! Impertinence like that  
in the Army would've earned him a  
good flogging!

**BISHOP  
**He's lucky he lives in modern  
times.

They are unaware of Utterson's presence until he speaks - he  
startles them.

**UTTERSON  
**If these are modern times, Your  
Grace, then speaking out to help  
one's fellow man should bear the  
support of society, and the church  
in particular.

**BISHOP**  
You agree then, Mr. Utterson, with  
his... proposal?

**UTTERSON**  
I agree with the principles, Your  
Grace.

Sir Danvers and Stride come into the drawing room. The others  
are not aware of them at first.

**BEACONSFIELD**  
Well, I think he's mad, if you must  
know.  
_(to Danvers)  
_Ah, Danvers, we're talking about  
your future son-in-law! And I think  
you're mad to allow him to marry  
your daughter!

EMMA CAREW, Sir Danvers' daughter and Jekyll's bride-to-be,  
has been chatting with a nearby group of GUESTS, and now  
spins around.

EMMA  
That's not father's decision, Lady  
Beaconsfield - it's mine!

**DANVERS**  
Don't worry Bessie. Whatever your  
views of him as a scientist may be,  
Emma assures me that Henry Jekyll  
is impeccable husband material!

**BEACONSFIELD  
**Impeccable?!  
_(grumpily)  
_Well, it is less than impeccable to  
be late for one's own engagement  
party! Shows a remarkable lack of  
style.

As the Board join other guests, and Beaconsfield and Savage  
pass Emma...

**EMMA**  
_(icily)  
_Comments on style, madam, should  
never be made by those who have  
none.

**UTTERSON**  
_(chuckling)  
_Miss Carew...

**EMMA**  
Thank you for being here, John.

**UTTERSON**  
You are a breath of fresh air!

Utterson goes out to the entrance hall, waiting for Jekyll  
nervously. Stride intercepts Emma, as she starts out after  
Utterson.

SONG: "EMMA'S REASONS"

**STRIDE**  
EMMA CAREW, CAN THIS BE YOU?  
WHAT KIND OF MAN IS THIS  
YOU'VE TAKEN?  
CAN YOU NOT SEE THE KIND OF LIFE  
THAT THIS WOULD BE?  
YOU ARE MISTAKEN!  
TIME TO AWAKEN  
BEFORE IT'S TOO LATE  
BEFORE YOU FOREVER  
DETERMINE YOUR FATE!

**EMMA**  
BUT, SIMON, YOU KNOW  
I HAD TO BE FREE!  
WHAT I CHOOSE TO DO  
IS DECIDED BY ME!

EVER SINCE MY MOTHER DIED  
MY FATHER, BLESS HIS DARLING HEART,  
HAS TREATED ME AS THOUGH  
I'M STILL A YOUNG CHILD!  
MAYBE HIS IDEA WAS JUST TO WAIT  
UNTIL I GREW UP  
AND THEN LOOK AT ME  
AND HOPE THAT I'D BE HER!

IT'S EASY TO ACCEPT THAT  
FROM A FATHER  
HE'D RATHER THINGS REMAINED  
THE WAY THEY WERE!  
BUT WHEN IT COMES TO MARRIAGE,  
I MUST PICK WHOM I PREFER!

I'M NOT THE WEAK YOUNG THING  
YOU'RE SEEKING, SIMON  
SOMEONE SEVENTEEN,  
OBEDIENT AND SWEET! -  
I AM NOT THE PROTÉGÉ  
TO WASTE YOUR TIME ON

At this moment, Jekyll hurries into the entrance hall.  
Utterson steps forward to greet and admonish him, as Jekyll  
hands his coat, scarf, and hat to servants. At the same  
time, Emma comes to the drawing room door, followed by  
Stride.

**EMMA (CONT'D)  
**I'M COMPLETE!  
IN HENRY'S EYES I SEE  
WHAT I AM MEANT TO BE!

Jekyll sees her, smiles, and starts in her direction. He is  
intercepted by a BEVY of YOUNG GENTLEMEN, who draw him away  
from Emma, teasing.

**STRIDE**  
Emma, listen to me...

**EMMA**  
SIMON ENOUGH!  
THERE'S NOTHING MORE!  
DON'T BE A BORE!  
YOU HAVE YOUR ANSWER.  
THAT'S HOW THINGS ARE,  
WILL ALWAYS BE.  
YOU HAD YOUR CHANCE, SIR, WITH ME.

**STRIDE**  
SOMEDAY YOU'LL REGRET  
WHAT YOU JUST SAID TO ME.

They laugh, thump Jekyll on the back, shake hands with him.  
He manages to get free of them, and starts again toward the  
drawing room, only to be intercepted again, this time by Sir  
Danvers, who reappears from the terrace looking at his watch.

**DANVERS**  
Ah, the late Henry Jekyll!

**JEKYLL**  
_(shaking his head)  
_Sir Danvers, forgive me...

**DANVERS  
**_(pooh-poohs the apology)  
_Nothing to forgive, dear boy. Like  
Emma, I'm learning to anticipate  
you. I'm thinking of inviting the  
guests for the day after the  
wedding - so that you will appear  
to be on time!

**JEKYLL**  
I'll be there, never fear. This 3  
month engagement will be the  
longest wait of my life.

**DANVERS**  
Well, Henry, your half-hour with  
the Hospital Board this afternoon  
was undoubtedly the longest of my  
life.

**JEKYLL  
**I'm truly sorry, sir, but I have to  
stand by what I believe.

**DANVERS  
**Even if it means antagonizing the  
established authority in the  
process?

**JEKYLL  
**Especially then! And your friends  
are not the established authority,  
merely the established prejudice!

**UTTERSON  
**_(coming between them)  
_My friend Jekyll is a man of honor,  
Sir Danvers, but not of diplomacy.

**DANVERS  
**I was not aware the two were  
incompatible.

Just then, mercifully, a MANSERVANT moves from the terrace  
into the entrance hall.

**1ST MANSERVANT  
**_(solemnly)  
_Ladies and Gentlemen – refreshments are being served.

The crowd disperses. Jekyll and Emma are alone in the drawing  
room.

**JEKYLL**  
Miss Carew.

**EMMA**  
Doctor Jekyll.

**JEKYLL**  
Are you angry with me?

**EMMA**  
I'm just happy you're here!

**JEKYLL  
**I try never to miss any social  
occasion attended by Lady  
Beaconsfield! Is there a Lord  
Beaconsfield?

**EMMA**  
He died thirty years ago.

**JEKYLL**  
Sensible fellow!

**EMMA  
**_(a pained smile at this remark)  
_My dear Doctor! While you're out  
fighting full-time to change the  
world, I seem to be fighting full-  
time to protect your reputation.  
I'm getting quite good at it!

**JEKYLL  
**Oh, Emma! You realize that you're  
letting yourself in for a lifetime  
of these aggravations.

**EMMA**  
I realize that.

SONG: "I MUST GO ON"

**JEKYLL  
**I MUST GO ON WITH THE  
WORK I'M COMMITTED TO  
HOW CAN I NOT WHEN  
MY THEORIES ARE TRUE?  
AND I WILL PROVE  
IF I'M EVER PERMITTED TO  
THINGS ARE NOT WRONG  
JUST BECAUSE THEY ARE NEW!

**EMMA  
**HENRY, I ADORE YOU.  
ALWAYS HAVE DONE ALWAYS WILL DO.  
AND YOUR DREAMS ARE MINE!  
I WILL ALWAYS UNDERSTAND  
HOWEVER HARD THE PATH  
YOU'VE PLANNED  
OUR LIVES WILL INTERTWINE...

**JEKYLL  
**WHO KNOWS WHERE MY WORK  
WILL LEAD ME?

**EMMA  
**NOWHERE WHERE YOU WILL NOT NEED ME!

**JEKYLL  
**EMMA, PLEASE I BEG YOU, HEED ME!

**EMMA  
**JUST DON'T LEAVE ME ON MY OWN!

**JEKYLL  
**THE ONLY THING TO FEAR IS  
THE UNKNOWN

**EMMA  
**WHEN THIS ALL BEGAN,  
WE KNEW THERE'D BE A PRICE TO PAY –  
TOO LATE NOW TO TURN AWAY –  
WE HAVE COME TOO FAR! –  
I KNOW WE'LL FIND A WAY...

SONG: "TAKE ME AS I AM"

**JEKYLL  
**SOMETIMES I SEE  
PAST THE HORIZON  
SURE OF MY WAY  
WHERE I AM GOING

BUT WHERE'S THE PRIZE  
I HAVE MY EYES ON?  
WHERE?  
THERE IS JUST NO KNOWING!

AND WHEN DESPAIR  
TEARS ME IN TWO  
WHO CAN I TURN TO BUT YOU?  
YOU KNOW WHO I AM...  
TAKE ME AS I AM

**EMMA  
**LOOK IN MY EYES  
WHO DO YOU SEE THERE?  
SOMEONE YOU KNOW?  
OR JUST A STRANGER?

IF YOU ARE WISE  
YOU WILL SEE ME THERE!  
LOVE...  
IS THE ONLY DANGER!

LOVE... MEANING ME  
LOVE... MEANING YOU  
WE'LL MAKE OUR ONE DREAM COME TRUE  
YOU KNOW WHO I AM...  
TAKE ME AS I AM

**BOTH  
**THOUGH FATE WON'T ALWAYS DO  
WHAT WE DESIRE –  
STILL WE CAN SET THE WORLD ON FIRE!

GIVE ME YOUR HAND  
GIVE ME YOUR HEART

**JEKYLL  
**SWEAR TO ME WE'LL NEVER PART!

**EMMA  
**WE'LL NEVER PART!

**JEKYLL  
**YOU KNOW WHO I AM

**EMMA  
**YOU KNOW WHO I AM

**JEKYLL  
**THIS IS WHO I AM!

**EMMA  
**THIS IS WHO I AM!

**BOTH  
**TAKE ME AS I AM!

Stride enters from the terrace with coat and hat in hand, on  
his way out, and peers into the drawing room as Jekyll kisses  
Emma.

SONG: "STRIDE'S CONFESSION"

**STRIDE  
**HENRY JEKYLL, I DESPISE YOU  
YOU HAVE STOLEN THE GIRL  
WHO SHOULD BE MY WIFE.  
BUT THERE'LL COME A DAY,  
NOT SO FAR AWAY  
WHEN I SWEAR YOU'LL PAY,  
AND YOU'LL PAY ALL YOUR LIFE!

Jekyll and Emma, unaware of his presence, laugh, and go  
towards the garden terrace.

EXT. TERRACE - SIR DANVERS' RESIDENCE - NIGHT

A fireworks display erupts in the garden, in the distance.  
Sir Danvers, Utterson, and the other guests are "oohing" and  
"aahing" at the spectacle. Emma and Jekyll, hand-in-hand,  
join them.

At the same time, a deep rumbling rhythmic thump begins  
underneath. This continues as the fireworks fade from  
brightness to darkness, from sizzle to silence, and we are  
into...


	6. Chapter 3

EXT. DOCK SIDE IN LONDON'S EAST END - NIGHT

One of the darkest and least desirable streets in the East  
End, London's least desirable neighborhood. Underneath an  
ancient stone bridge which drips dank rot, we can perceive  
heavy dark crates being unloaded in flickering torchlight by  
grimy DOCKWORKERS. The echoing lifeless thump, already  
established, comes from the sounds of their work, from other  
unidentifiable river noises (pumps? axes taking something  
apart?), and from the general, aggressively rough rhythms of  
life in this part of London.

STREET PEOPLE of every dubious type – WOMEN, GIRLS, MEN and  
BOYS for hire for virtually any purpose; and OTHERS who take  
rather than trade. RAG AND BONE MEN, CRIPPLED AND BLIND  
BEGGARS, COSTERMONGERS who smell of rotting vegetable matter,  
etc.

Among the WOMEN OF THE STREET, NELLIE cuts the widest swath,  
strolling up and down before her establishment, "The Red  
Rat," a dingy public-house in the most degraded sense of that  
term. One or two hissing undependable gaslights illuminate  
the outside of the house.

Nellie is a chemical redhead, dressed in a worn and patched  
red dress, with more fake garnets missing from her jewelry  
than present, and with fingernails and lips the color of  
tobacco. At one time, she must have been a "looker," but  
those days are behind her now. She is a "badger" – that is,  
a walking prostitute by day – by night, a "hook" to attract  
customers here.

A hansom cab approaches, from underneath the bridge, and  
Nellie steps up to greet the cab. Two well-dressed gentlemen  
gradually emerge from the cab – Jekyll and Utterson.

**UTTERSON  
**_(ignoring Nellie's curtsy  
__and tobacco-colored grin  
__as they emerge)  
_Well, I prefer to believe that man  
s basically good. Every moral man  
believes that.

**JEKYLL  
**I do not believe it. We all have  
dark impulses within us...

**UTTERSON  
**And that's what you call "freedom"?

**JEKYLL  
**Yes! Like an animal is free, to do  
exactly as he wants, when he  
wants...

**UTTERSON  
**Henry! As your lawyer, it is my  
duty to inform you that you are  
playing a very dangerous game.

**JEKYLL  
**And as your doctor, John, it is my  
duty to inform you... that I need a  
very large drink!

She eyes the two unusually upmarket gents approvingly as they  
approach. An out-of-tune honky-tonk piano plays the music of  
"BRING ON THE MEN" gently under as she sizes them up, then  
dazzles them with her smile.

**NELLIE  
**'Ere's a lovely lookin' pair of  
gentlemen, I must say! Welcome to  
"The Red Rat"! 'Ave a drink – look  
around – find somethin' ya fancy!

**JEKYLL  
**_(to Nellie)  
_Are you "free" my dear?

**NELLIE  
**Well, not free, yer Lordship, but  
cheap enough for the likes of you!

**JEKYLL  
**Come on, John, one drink.

**UTTERSON  
**_(regarding Nellie)  
_This is hardly a respectable place,  
Henry!

**JEKYLL  
**I've had all the respectability I  
can take for one day. And, anyway,  
tonight's my bachelor night. Aren't  
you supposed to give me a party?

**NELLIE  
**I could be the party 'e's supposed  
ta give ya, 'Enry.

**UTTERSON  
**He meant a bachelor party.

**NELLIE  
**Most of me parties are bachelors.

**JEKYLL  
**Come on, John!  
_(starting to follow  
__Nellie)_

**UTTERSON  
**I think not.

**NELLIE  
**'E thinks too much, don't he 'Enry?

**JEKYLL  
**_(yelling back to Utterson  
__as he follows Nellie into  
__the pub)  
_Where's your sense of adventure?

**NELLIE  
**That's right 'Enry! Good for you!  
Me name's Nellie.

Jekyll follows Nellie down the stairs into the pub, as we  
become aware of the relentless thumping of this part of  
London again, and we move into...

INT. THE RED RAT

Nellie leads Jekyll through the crowded pub to find him a  
place to sit.

**NELLIE  
**Not cut out to be one of the lads,  
is 'e that John? Well, one out of  
two's not bad, I suppose. So, what  
do ya' fancy, dear? ...apart from  
me, of course!

**JEKYLL  
**A large whiskey, please.

**NELLIE  
**Whiskey eh? If ya' play yer cards  
right, sweet'eart, you can 'ave us  
both!

As Nellie goes to get the drink, the pub CUSTOMERS start  
their demands for Lucy to give them a song. They bang their  
mugs on the table and stamp their feet as calls for Lucy  
build into a chant...

**PUB CUSTOMERS  
**LU-CY! ... LU-CY! ... LU-CY! LUCY!  
LUCY! LUCY!

The roar of approval crescendos as LUCY indicates she is  
going to sing. She wears a cheap, glittery, corseted costume,  
above which her pale arms and bosom appear almost  
translucent; as do her shapely legs, exposed beneath. She  
stamps smartly, to insure that her boots are solidly on –  
and, also, to clear the gas jets in the footlights.

Lucy stamps again and the flickering gas footlights glow more  
brightly. CAMERA PULLS BACK to reveal Lucy, on a tiny, low,  
makeshift stage.

Lounging in the foreground and around the periphery of "The  
Red Rat" are Nellie, Jekyll, and a few OTHER CUSTOMERS, all  
men, of course, from a variety of classes and professions.

Accompaniment for Lucy's number is provided by a comatose  
PIANIST in the background. She is a faded Victorian Music  
Hall star in the Marie Lloyd mold.

SONG: "BRING ON THE MEN"

**LUCY  
**THERE WAS A TIME –  
I DON'T KNOW WHEN  
I DIDN'T HAVE MUCH TIME FOR MEN  
BUT THIS IS NOW –  
AND THAT WAS THEN...  
I'M LEARNING!

A GIRL ALONE – ALL ON HER OWN  
MUST TRY TO HAVE A HEART OF STONE  
SO I TRY NOT TO MAKE IT KNOWN,  
MY YEARNING!  
I TRY TO SHOW I HAVE NO NEED  
I REALLY DO... I DON'T SUCCEED!

SO LET'S BRING ON THE MEN  
AND LET THE FUN BEGIN!  
A LITTLE TOUCH OF SIN  
WHY WAIT ANOTHER MINUTE?

STEP THIS WAY –  
IT'S TIME FOR US TO PLAY!  
THEY SAY WE MAY NOT  
PASS THIS WAY AGAIN  
SO LET'S WASTE NO MORE TIME  
BRING ON THE MEN!  
I ALWAYS KNEW – I ALWAYS SAID –  
THAT SILK AND LACE IN BLACK AN' RED  
WILL DRIVE A MAN  
RIGHT OFF HIS HEAD...  
IT'S EASY!

SO MANY MEN, SO LITTLE TIME  
I WANT 'EM ALL... IS THAT A CRIME?

**PUB CUSTOMERS  
**No!

**LUCY  
**I DON'T KNOW WHY  
THEY SAY THAT I'M TOO EASY!  
THEY MAKE ME LAUGH –  
THEY MAKE ME CRY –  
THEY MAKE ME SICK –  
SO GOD KNOWS WHY...

Two young WOMEN sashay onstage in tattered finery, and they  
join in the number.

**LUCY &amp; GIRLS  
**WE SAY BRING ON THE MEN  
AND LET THE FUN BEGIN!  
A LITTLE TOUCH OF SIN  
WHY WAIT ANOTHER MINUTE?

STEP THIS WAY –  
IT'S TIME FOR US TO PLAY!  
THEY SAY WE MAY NOT  
PASS THIS WAY AGAIN  
SO LET'S WASTE NO MORE TIME  
BRING ON THE MEN!

**FIRST GIRL  
**THEY BREAK YOUR HEART,

**SECOND GIRL  
**THEY STEAL YOUR SOUL,

**BOTH  
**TAKE YOU APART,

**LUCY  
**AND YET THEY SOMEHOW MAKE YOU WHOLE

**ALL  
**SO WHAT'S THEIR GAME?  
I SUPPOSE A ROSE BY  
ANY OTHER NAME...

**LUCY  
**THE PERFUME AND THE PRICK'S  
THE SAME

Dance break: Lively. Bawdy. Raucous. A celebration of the  
various things a young lady and her young man can do  
together, as enacted by the two young women. The crowd is  
enjoying it, as Lucy does her thing.

**LUCY (CONT'D)  
**I LIKE TO HAVE A MAN  
FOR BREAKFAST EACH DAY  
I'M VERY SOCIAL  
AND I LIKE IT THAT WAY!  
BY LATE MID-MORNING  
I NEED SOMETHING TO MUNCH  
SO I ASK OVER TWO MEN FOR LUNCH!

AND MEN ARE MAD ABOUT  
MY AFTERNOON TEAS  
THEY'RE QUITE INFORMAL  
I JUST DO IT TO PLEASE!  
THOSE TRIPLE SANDWICHES  
ARE MY FAV'RITE ONES  
I'M ALSO VERY PARTIAL TO BUNS!

MY HEALTHY APPETITE  
GETS STRONGEST AT NIGHT  
MY AT-HOME DINNERS ARE  
MY MEN-FRIENDS' DELIGHT!  
WHEN I INVITE THE FELLERS  
OVER TO DINE  
THEY ALL COME EARLY...  
IN BED BY NINE!

**ALL  
**SO LET'S BRING ON THE MEN  
AND LET THE FUN BEGIN!  
A LITTLE TOUCH OF SIN  
WHY WAIT ANOTHER MINUTE?

STEP THIS WAY –  
IT'S TIME FOR US TO PLAY!

**LUCY  
**THEY SAY WE MAY NOT  
PASS THIS WAY AGAIN  
SO LET'S WASTE NO MORE TIME  
BRING ON THE MEN!

The men roar their approval as Lucy finishes on a rolling  
chord, and then jumps down from the low stage, to circulate  
among the clientele.

As piano music continues (an interlude between Lucy's act and  
the next), every barmaid is immediately grabbed and carted  
away to the farthest recesses of "The Red Rat" in response to  
the song's stirring message.

Nellie catches Lucy's eye and guides her attentions to  
Jekyll. (Lucy has noticed him during the song. Most certainly  
he has noticed her!)

Lucy looks approvingly at the good-looking gentleman, and  
approaches him with a pert, sexy smile, brushing aside other  
men who try to stop her.

Stride has just entered the pub and starts toward Lucy, but  
stops when he sees Jekyll. He pulls back and secretly  
observes.

Music resumes under.

SONG: "LUCY MEETS JEKYLL"

**LUCY (CONT'D)  
**S' NOT EVERY DAY ME FRIENDS AN' I  
'AS GENTS LIKE YOU  
JUST DROPPIN' BY.  
BEFORE YOU GO, YOU'LL KNOW  
JUST WHY YOU CAME HERE!

**JEKYLL  
**OF THAT, MY DEAR,  
I'VE LITTLE DOUBT  
ONE ONLY HAS  
TO LOOK ABOUT  
IT'S NOT TOO HARD TO FIGURE OUT  
THE GAME HERE!  
AND YET I SENSE  
THERE'S MORE TO YOU

**LUCY  
**YOU FLATTER, SIR –  
YOU REALLY DO!  
WITH HALF A CHANCE...

**JEKYLL  
**WHAT WOULD YOU DO?

**LUCY  
**DON'T ASK ME!  
_(spoken)  
_Cheers! Got a name, brown eyes?  
_(optional: "blue" or  
_"_green")_

**JEKYLL  
**Henry –

**LUCY  
**Well, 'Enry, aren't ya gonna ask me  
what I'm doin' in a place like  
this?

**JEKYLL  
**Actually, I...

**LUCY  
**Actually, I'm in between  
engagements at the Royal Albert  
'All...

They laugh as Nellie brings a drink for Lucy.

**LUCY (CONT'D)  
**So, I guess this is yer lucky  
night!  
_(raising her glass, sung)  
_HERE'S TO THE NIGHT!  
HERE'S TO ROMANCE!  
TO THOSE UNAFRAID  
OF TAKING A CHANCE!

**JEKYLL  
**_(with a rueful smile)  
_I THINK I'VE TAKEN ENOUGH  
FOR ONE DAY!  
AND I HAVE LEARNED TO MY COST  
CHANCES ARE SOMETHING  
YOU DON'T TAKE  
ONCE YOU HAVE LOST!

**LUCY  
**OH, WHAT A SHAME!  
IF YOU ONLY KNEW  
THE GAMES WE COULD PLAY  
THE THINGS WE COULD DO!  
YET I CAN SEE  
YOU'RE NOT UP TO THE CHASE!  
BUT, IF YOU'RE EVER IN NEED,  
I AM THE GIRL! –  
AND THIS IS THE PLACE! –  
COME TO ME!

**JEKYLL  
**_(looks at his watch)  
_IT'S GETTING LATE  
I HAVE TO GO  
IF ANY TIME  
YOU NEVER KNOW  
YOU NEED A FRIEND

Jekyll takes a visiting card from his pocket and presents it  
to her.

**JEKYLL (CONT'D)  
**And I mean simply that... a friend.

She is flattered and thrilled. She smiles at him, deeply  
touched.

Jekyll turns to go, meeting Nellie, who has his hat and coat  
ready. He takes them. (Stride watches Jekyll leave.)

**NELLIE  
**Fancy our Lucy, do ya?  
_(calling after him as he  
__leaves)  
_Well, come back 'Enry! She'll be  
'ere!

**LUCY  
**_(impressed, reading the  
card)  
_"Doctor 'Enry Jekyll... 46 'Arley  
Street."

Jekyll stops, only a moment, and tips his hat to Lucy. She  
smiles wanly at him, then turns back.

Stride suddenly appears from nowhere, walks straight up to  
Lucy.

**STRIDE  
**Harley Street? Isn't that a bit  
"uptown" for you, my dear?

She gasps, but does not cry out.

**STRIDE (CONT'D)  
**_(not waiting for a  
__response)  
_A little less socializing and a  
little more soliciting might prove  
more profitable for you, Lucy.

**LUCY  
**Yeah, well ya' can't win 'em all.

**STRIDE  
**Fortunately for you, I'm in a very  
good mood tonight.

Stride dangles money in front of her. Lucy takes it.

**LUCY  
**Lucky me.

He begins caressing her.

**STRIDE  
**I'll be up to your room later on to  
show you just how good!

It turns into groping and she tries to pull away.

**LUCY  
**Simon... stop it!

**STRIDE  
**I am buying what you're selling,  
and you'll do as I say!  
_(laughs at her)  
_"Queen of the Red Rat" would rather  
sit around hobnobbing and drinking  
gin with fashionable society! Who  
in the hell do you think you are?

Stride leaves.

**LUCY  
**Ya' only know what ya' pay for.

It's now very late. Nellie and some of the girls are in the  
various stages of "working" the dwindling male customers.

SONG: "THE GIRLS OF THE NIGHT"

**NELLIE  
**WE'RE THE PLEASURES  
OF THE NIGHTTIME  
THAT FADE AT DAWN  
SELLING TREASURES OF THE NIGHTTIME  
TILL NIGHT IS GONE!  
AND THEN WHEN THE PARTY'S OVER  
EVERYBODY'S GONE AWAY  
WE STARE AT AN EMPTY DAY  
WHAT IS THERE TO DO OR SAY?

Wearily, the girls begin cleaning up, wiping up, putting  
things away, clearing and stacking tables, etc. The few  
remaining customers are leaving.

**NELLIE (CONT'D)  
**NIGHTTIME IS WHERE WE LIVE  
NIGHT IS WHEN WE GIVE  
EVERYTHING WE HAVE TO GIVE  
MOST LOVERS CAN REJOICE  
WE DON'T HAVE A CHOICE  
WE JUST KNOW WE HAVE TO GIVE  
THAT'S WHY THE DAY  
CAN NEVER BE BRIGHT  
FOR THE GIRLS OF THE NIGHT

**LUCY  
**SOMEWHERE I KNOW THERE'S A SOMEDAY  
THAT'S JUST FOR ME  
EVERYBODY HAS A "SOMEDAY,"  
SO WHY NOT ME?

**NELLIE  
**DO YOU REALLY NEED TO  
FILL YOUR HEART WITH EMPTY DREAMS?  
YOU'LL ALWAYS BE WHAT YOU ARE  
STOP CHASING THAT DISTANT STAR!

**ALL  
**NIGHTTIME IS WHERE WE LIVE  
NIGHT IS WHEN WE GIVE  
EVERYTHING WE HAVE TO GIVE  
MOST LOVERS CAN REJOICE  
WE DON'T HAVE A CHOICE  
WE JUST KNOW WE HAVE TO GIVE  
THAT'S WHY THE DAY  
CAN NEVER BE BRIGHT  
FOR THE GIRLS OF THE NIGHT

**FIRST GIRL  
**FLY AWAY!  
FLY AWAY!  
_(sits down at table, lost  
__in thought)  
_LET ME FIND MY WINGS

**SECOND GIRL  
**_(to self, staring into  
__space)  
_LET ME BE THE GIRL I WANT TO BE

**LUCY  
**I'M AFRAID TO FLY AWAY  
WHEN ALL I HAVE IS HERE

**ALL  
**FLY AWAY!  
FLY AWAY!  
FLY AWAY!

EXT. THE RED RAT - LATE NIGHT

The girls and male customers are now out on the street.

**LUCY, NELLIE &amp; GIRLS  
**ASK ME TO SHARE YOUR  
FANTASIES, DEAR, BUT  
DON'T ASK ME WHERE TOMORROW IS  
DON'T ASK ME WHERE  
TO FIND HAPPINESS  
THOUGH I KNOW FOR SURE  
WHERE SORROW IS

**NELLIE  
**SORROW IS WHERE  
THE DARK MEETS THE LIGHT...

**LUCY  
**SOMETIMES I PRAY  
MY FEARS WILL TAKE FLIGHT...

**GIRLS  
**SORROW IS WHEN  
ALL HOPE FADES FROM SIGHT...  
FOR THE GIRLS OF THE NIGHT...

The girls wander away, some have found men. Stride has  
returned for Lucy - she reluctantly leaves with him.

**NELLIE  
**WE'RE THE GIRLS OF THE NIGHT...  
JUST THE GIRLS OF THE NIGHT...


	7. Chapter 4

INT. DR. JEKYLL'S CONSULTING ROOM

Jekyll's spare but elegant office and consulting room,  
dominated by a large fireplace, on either side of which are  
glass presses containing his ordinary physician's  
paraphernalia, immaculately organized; a large mahogany desk;  
a massive comfortable armchair of dark leather before the  
fireplace; a leather chaise longue, surrounded by a screen,  
at one side.

POOLE, Jekyll's antique but sturdy manservant, is waiting  
attentively for his master's word.

**POOLE  
**Anything more you need, sir?

**JEKYLL  
**No, Poole, go to bed. I won't need  
you again this evening.

**POOLE  
**Goodnight sir.

**JEKYLL  
**Poole?

**POOLE  
**Yes, sir?

**JEKYLL  
**_(a different tone)  
_You knew my father in his best  
days. His mind and spirit were  
extremely strong, weren't they?

**POOLE  
**_(moved)  
_He was the finest gentleman I ever  
knew, sir.

**JEKYLL  
**_(to himself)  
_I must do it... for his sake.

**POOLE  
**Sir?

**JEKYLL  
**Nothing. Goodnight.

**POOLE  
**Goodnight, sir.

Poole bows, then vanishes into the living quarters of the  
residence. Jekyll stands before the fire as it blazes up  
brightly. He looks at the reflection of firelight on his face  
in the large mirror above the mantelpiece.

SONG: "NOW THERE IS NO CHOICE"

**JEKYLL  
**_(starting quietly; his  
__excitement building)  
_NOW THERE IS NO CHOICE  
I MUST PUT ASIDE  
THE FEARS I FEEL INSIDE  
THERE'S NO PLACE TO HIDE.  
SO IT COMES TO THIS ONE  
GREAT GOLDEN CHANCE  
THAT ONLY I CAN TAKE!  
WHEN EVERYTHING I'VE  
FOUGHT FOR IS AT STAKE!  
TO MAKE THE MARK  
THAT ONLY I CAN MAKE...

Spinning round, he looks about the room, as though in a daze,  
his eyes glowing.

SONG: "THIS IS THE MOMENT"

**JEKYLL (CONT'D)  
**THIS IS THE MOMENT  
THIS IS THE DAY  
WHEN I SEND ALL MY DOUBTS  
AND DEMONS ON THEIR WAY!

EVERY ENDEAVOR  
I HAVE MADE – EVER –  
IS COMING INTO PLAY  
IS HERE AND NOW... TODAY!

THIS IS THE MOMENT  
THIS IS THE TIME  
WHEN THE MOMENTUM AND THE MOMENT  
ARE IN RHYME!

GIVE ME THIS MOMENT –  
THIS PRECIOUS CHANCE  
I'LL GATHER UP MY PAST  
AND MAKE SOME SENSE AT LAST!

THIS IS THE MOMENT  
WHEN ALL I'VE DONE  
ALL OF THE DREAMING, SCHEMING,  
AND SCREAMING  
BECOME ONE

THIS IS THE DAY  
SEE IT SPARKLE AND SHINE!  
WHEN ALL I'VE LIVED FOR  
BECOMES MINE!

He goes to the door to his laboratory and unlocks it. He  
opens it slowly - a strange light beckons from deep within.  
He descends!

INT. LABORATORY

The laboratory from the opening prologue. Dark except for a  
few gaslights, it is more imposing: a huge, spectacular  
cavernous space. It is dormant now, but as Jekyll continues,  
he turns levers, dials, lowers pulleys, etc., bringing it to  
full, infernal, animated life!

**JEKYLL  
**FOR ALL THESE YEARS,  
I'VE FACED THE WORLD ALONE  
AND NOW THE TIME HAS COME  
TO PROVE TO THEM  
I MADE IT ON MY OWN!

THIS IS THE MOMENT  
MY FINAL TEST  
DESTINY BECKONED  
I NEVER RECKONED  
SECOND BEST!

I WON'T LOOK DOWN  
I MUST NOT FALL!  
THIS IS THE MOMENT,  
THE SWEETEST MOMENT OF THEM ALL!

The lab is at full throttle now.

**JEKYLL (CONT'D)  
**THIS IS THE MOMENT  
DAMN ALL THE ODDS!  
THIS DAY OR NEVER  
I'LL SIT FOREVER  
WITH THE GODS!

WHEN I LOOK BACK,  
I WILL ALWAYS RECALL  
THAT MOMENT FOR MOMENT  
THIS WAS THE MOMENT...  
THE GREATEST MOMENT  
OF THEM ALL!

Jekyll now moves purposefully to complete the preparation of  
the formula.

**JEKYLL (CONT'D)  
**_(writes in his journal)  
_September 13th, 11:56 PM. I have  
started this alone... and I must  
finish it alone. I know I must use  
myself as the subject of the  
experiment.

He moves away from the desk, picks up a large glass test-  
tube, full of some brilliant crimson element. He inserts the  
tube into a clamp above a small gas jet, then turns the flame  
up high. The crimson element liquefies and bubbles noisily.  
Jekyll watches it, entranced, as he sings:

SONG: "TRANSFORMATION"

**JEKYLL (CONT'D)  
**I MUST BE WISE  
I MUST TRY TO ANALYZE  
EACH CHANGE IN ME,  
EVERYTHING I SEE

HOW WILL IT BE?  
WILL I SEE THE WORLD  
THROUGH DIFFERENT EYES?

He takes a brilliant white towel from one of the glass  
presses, and uses it to lift the test-tube of bubbling  
crimson liquid from the clamp.

**JEKYLL (CONT'D)  
**LIKE A WARNING LIGHT  
GLIMMERING IN RED  
LIKE CRIMSON BLOODSHED  
SHIMMERING IN RED

He starts to add this liquid, drop by drop, to a  
larger beaker of some sluggish blue compound.  
When he inadvertently spills a few drops of  
crimson onto the metal surface of a work-table,  
the metal hisses and steams, filling the air with  
acrid smoke; but Jekyll continues his work, singing  
at the same time.

**JEKYLL (CONT'D)  
**BEAUTIFUL AND STRANGE  
SEE THE COLORS CHANGE  
BEFORE MY EYES!

SEE HOW THEY DANCE AND THEY SPARKLE  
LIKE DIAMONDS AT NIGHT  
LEADING ME OUT OF THE DARKNESS  
AND INTO THE LIGHT!

Instrumental music continues to build in volume and rate, as  
Jekyll swirls the brilliant crimson liquid into the dull blue  
one – and suddenly the mixture is transmuted into a radiant  
magnesium white, which seems to pulse within the beaker.  
Dizzy with elation, Jekyll raises the beaker as if in a toast  
and drinks the radiant liquid.

Then he waits. Nothing. With his other hand he picks up  
the pen again, dips it in ink, and writes in his journal.

**JEKYLL (CONT'D)  
**11:58 PM. I have consumed 10  
centiliters of formula HJ7. Salty,  
bitter taste. Stings the tongue.  
Warm in the gullet. Heat spreading  
strongly through my veins. Slight  
feeling of euphoria. Light-  
headedness. No noticeable  
behavioral differences.  
_(sings)  
_NOW THE DIE IS CAST!  
NOTHING LEFT TO DO!  
TIME ALONE  
CAN PROVE MY THEORIES TRUE  
SHOW THE WORLD...

A blade of pain slashes through him, from scalp to foot. He  
gasps, staggers.

**JEKYLL (CONT'D)  
**What's this?  
_(sings)  
_SOMETHING'S HAPPENING  
I CAN'T EXPLAIN!  
SOMETHING INSIDE ME,  
A BREATHTAKING PAIN  
DEVOURS AND CONSUMES ME,  
AND DRIVES ME INSANE!

He controls his breathing with difficulty, then reaches for  
the pen, to write again in his journal. He is gripped by an  
even more searing agony. He twists, shudders, throws the pen  
aside, and reels around among the laboratory tables, crashing  
against the glass presses, clutching his stomach, then his  
head.

**JEKYLL (CONT'D)  
**SUDDENLY –  
UNCONTROLLED –  
SOMETHING IS TAKING HOLD

SUDDENLY –  
AGONY –  
FILLING ME,  
KILLING ME!

He staggers to a halt in front of the enormous mirror, and  
observes the total physical transformation which is  
occurring, first to his interior, then his exterior. He is  
becoming EDWARD HYDE. His posture becomes a feral crouch; his  
voice, a throaty animal rasp. His eyes glow with an unhealthy  
radiance. Shaken, both thrilled and terrified, he reels back  
toward the desk, snatches up the pen, and tries to continue  
his journal entry:

**JEKYLL (CONT'D)  
**SUDDENLY –  
OUT OF BREATH –  
WHAT IS THIS?  
IS IT DEATH?

He wheels around and stares into the mirror again, his  
transformation into HYDE virtually complete.

**JEKYLL (CONT'D)  
**_(in a hideously altered  
__voice)  
_SUDDENLY –  
LOOK AT ME!  
CAN IT BE?!  
WHO IS THIS CREATURE THAT I SEE?!

He howls at his altered reflection in the enormous mirror. It  
is a howl both of terror and of triumph. He moves around the  
laboratory now in his panther-like crouch, knocking tables  
aside, overturning laboratory equipment. Finally, he leaps in  
front of the mirror again, his eyes and teeth radiant like a  
beast's.

**HYDE  
**_(in ecstasy)  
_Free!

He laughs, one huge scream of laughter, then erupts into a  
sudden spasm of rage. Seizing a thick silver-knobbed cane  
from the umbrella stand by the door, he sees the gas lamp  
burning on the lab table. He smashes it with his heavy cane,  
laughs again, and then moves with astonishing quickness and  
ferocity out of the lab and into the night.

EXT. THE EAST END - NIGHT

A mighty rush of wind through the darkness, and suddenly HYDE  
moves through the streets of London. A nightmarish  
recollection of Jekyll's walk with Utterson – but strange,  
distorted and hallucinatory. Indeed, the entire world (and  
the production style now!) is seen through Hyde's eyes. He  
laughs the same agonizing laugh of total animal freedom.

SONG: "ALIVE"

**HYDE  
**WHAT IS THIS FEELING OF  
POWER AND DRIVE  
I'VE NEVER KNOWN?  
I FEEL ALIVE!

WHERE DOES THIS FEELING  
OF POWER DERIVE?  
MAKING ME KNOW WHY I'M ALIVE!

LIKE THE NIGHT, IT'S A SECRET –  
SINISTER, DARK, AND UNKNOWN  
I DO NOT KNOW WHAT I SEEK,  
YET I'LL SEEK IT ALONE!

I HAVE A THIRST  
THAT I CANNOT DEPRIVE,  
NEVER HAVE I FELT SO ALIVE!

THERE IS NO BATTLE  
I COULDN'T SURVIVE,  
FEELING LIKE THIS –  
FEELING ALIVE!

LIKE THE MOON, AN ENIGMA –  
LOST AND ALONE IN THE NIGHT!  
DAMNED BY SOME HEAVENLY STIGMA,  
BUT BLAZING WITH LIGHT!

IT'S THE FEELING OF BEING ALIVE –  
FILLED WITH EVIL, BUT TRULY ALIVE!  
IT'S A TRUTH THAT CANNOT BE DENIED!  
IT'S THE FEELING OF  
BEING EDWARD HYDE!

Hyde has made his way to the East End. The STREET PEOPLE  
lurking about are all lower class - among them is Lucy. Hyde  
follows her through the streets – almost ambushing her  
several times – a game of cat and mouse.

**HYDE (CONT'D)  
**WAIT!  
WHAT'S THIS?  
SWEET MISS!  
I THOUGHT I HAD LOST YOU!

Hyde approaches Lucy. She responds thinking he is a potential  
client. Lucy stares at him, uncertain what to make of this  
strange, intense man. She is somehow fascinated by him.

**HYDE (CONT'D)  
**IT'S FATE!  
WHAT BLISS!  
SWEET MISS!

He caresses her bare shoulders; she is drawn to him –  
something about his eyes. He is running his hands up and down  
her body, kissing her neck, etc. Hyde's caresses become more  
violent. Lucy runs away. Hyde allows her to escape.

**HYDE (CONT'D)  
**YOUR FOLLY WILL COST YOU DEAR,  
MY DEAR,  
YOU'LL SEE  
YOU'LL NEVER ESCAPE ME!  
I'M HERE  
I FEAR  
AND YOU WILL PAY DEAR,  
MY DEAR...

ANIMALS TRAPPED BEHIND BARS  
IN THE ZOO  
NEED TO RUN RAMPANT AND FREE!  
PREDATORS LIVE BY  
THE PREY THEY PURSUE  
THIS TIME THE PREDATOR'S ME!

LUST – LIKE A RAGING DESIRE  
FILLS MY WHOLE SOUL WITH ITS CURSE!  
BURNING WITH PRIMITIVE FIRE –  
BERSERK AND PERVERSE!

TONIGHT I'LL PLUNDER HEAVEN BLIND!  
STEAL FROM ALL THE GODS!  
TONIGHT I'LL TAKE FROM ALL MANKIND  
CONQUER ALL THE ODDS!

I FEEL I'LL LIVE ON FOREVER  
WITH SATAN HIMSELF BY MY SIDE!  
AND I'LL SHOW THE WORLD THAT  
TONIGHT AND FOREVER  
THE NAME TO REMEMBER'S  
THE NAME EDWARD HYDE!

WHAT A FEELING TO BE SO ALIVE!  
I HAVE NEVER SEEN ME SO ALIVE!  
SUCH A FEELING OF EVIL INSIDE!  
THAT'S THE FEELING  
OF BEING EDWARD HYDE!

WITH THIS FEELING OF BEING ALIVE,  
THERE'S A NEW WORLD  
I SEE COME ALIVE!  
IT'S A TRUTH THAT CANNOT BE DENIED  
THERE'S NO FEELING LIKE  
BEING EDWARD HYDE!

He laughs again, shattering reason, then vanishes, and we are  
into...


	8. Chapter 5

EXT. HARLEY STREET - DAY (WEEKS LATER)

The façade of Jekyll's house in Harley Street, as before;  
brilliant morning sunlight.

After a moment, the front door of the house is opened, and  
Emma, carrying a small bouquet of flowers, steps out,  
escorted by Poole.

**POOLE  
**I'm sorry, Miss Carew. Dr. Jekyll  
has given the strictest  
instructions that he is not to be  
disturbed under any circumstances.  
May I give him a message?

**EMMA  
**_(handing him the flowers)  
_Just show him the flowers I  
brought, Poole... if you can get  
his attention. Say they are to  
remind him that there is more in  
his life than his work – myself for  
example.

**POOLE  
**A very valid argument, if I may say  
so, miss.

Poole withdraws into the house. Emma stands looking at the  
blank façade for another moment.

SONG: "IF YOU ONLY KNEW"

**EMMA  
**IF YOU ONLY KNEW  
HOW MUCH I LOVE YOU,  
WOULD YOU STILL BEHAVE  
THE WAY YOU DO?  
FOREVER TEMPTING FATE  
WHILE I JUST SIT AND WAIT  
AND WORRY ABOUT  
WHAT FATE MIGHT DO TO YOU

IF YOU ONLY KNEW HOW MUCH I SUFFER,  
WOULD YOU MAYBE  
CHANGE YOUR POINT OF VIEW?  
OR WILL YOU STILL GO ON  
TILL ALL OUR DREAMS ARE GONE  
AND HOPE  
THAT I WILL STILL BE THERE FOR YOU?

MUST I GO ON LIKE THIS FOREVER –  
NOT KNOWING WHEN OR WHETHER  
YOU'LL RETURN?  
DO I JUST SIT AND YEARN  
OR TRY TO LIVE AND LEARN  
AND LEARN TO LIVE WITH  
WHAT YOU PUT ME THROUGH?  
IF YOU ONLY KNEW...

I'M NOT AS FRAGILE  
AS I MAY APPEAR TO BE  
I WON'T SO EASILY BREAK IN TWO

IF YOU ONLY KNEW HOW MUCH I WONDER  
WHETHER YOU'RE AWARE  
YOU NEED ME TOO  
IF YOU WERE NOT SO BLIND  
TOGETHER WE COULD FIND  
THE PEACE OF MIND  
THAT MAKES OUR DREAMS COME TRUE!  
IF YOU ONLY KNEW...  
IF YOU ONLY KNEW...  
IF YOU ONLY KNEW...

Emma then starts off. Utterson encounters Emma on the  
sidewalk.

**EMMA (CONT'D)  
**He won't see me.

**UTTERSON  
**This is absurd!

Utterson goes to the door of Jekyll's house, knocks once, and  
proceeds inside, without waiting for the door to be answered.

**DANVERS  
**He is sacrificing everything  
valuable in his life to these  
experiments.

**EMMA  
**His experiments are the most  
valuable thing in his life.

**DANVERS  
**After you, of course.

**EMMA  
**No, before me. I understand that,  
Father.

We move into...

INT. DR. JEKYLL'S CONSULTING ROOM

Jekyll's sparsely but elegantly furnished office/consulting  
room, as before. Poole is taking Utterson's coat and hat.

**POOLE  
**I did not want to alarm Miss Carew,  
sir. And it is hardly my place to  
criticize the Doctor, but his  
behavior this past week...

Suddenly, from the laboratory beyond, Jekyll is heard,  
shouting:

**JEKYLL (O.S.)  
**Poole! Poole!

A stressed Jekyll, half-dressed, unshaven, his eyes  
unfocused, staggers into the office, unaware of Utterson's  
presence.

**JEKYLL (CONT'D)  
**Poole, I have been ringing for a  
quarter of an hour! I want you to  
go to Mister Bisset, the  
apothecary, immediately and get me  
these chemicals...  
_(thrusts a piece of paper  
__into Poole's hand)  
_Now, Poole!

**POOLE  
**I'll see to it, sir!

Poole glances quickly at Utterson, then hurries out of the  
office.

**UTTERSON  
**Henry!

Jekyll wheels round and stares at Utterson, as though not  
recognizing him at first.

**JEKYLL  
**John! ...Well, to what do I owe  
this unexpected visit?

**UTTERSON  
**Henry, you look terrible! What is  
going on?

**JEKYLL  
**John!

He moves to his desk, unlocks a drawer, and takes out three  
sealed documents. He moves back, unsteadily, toward Utterson.

**JEKYLL (CONT'D)  
**There is a letter here for Emma –  
one for her father – and one for  
you. If I should ever – be taken  
ill... or should have to go away  
for a time.

Utterson takes the documents from Jekyll and stares  
desperately, blankly, at the sealed letters.

**UTTERSON  
**Go away? Henry, what are you  
saying?

**JEKYLL  
**_(annoyed)  
_John, you are my lawyer! You must  
do this for me.

**UTTERSON  
**And you, my dear Henry, must re-  
examine your priorities!

Utterson leaves, disconsolate, taking the sealed documents  
with him.

EXT. HARLEY STREET - AS BEFORE

Utterson re-joins Emma and Sir Danvers and shakes his head  
"no." They start to leave down the street.

From the other end of the road, Lucy appears, looking for the  
right house, with Jekyll's card in hand. Emma notices her and  
observes Lucy going to Jekyll's door. Emma leaves pensively.

INT. DR. JEKYLL'S CONSULTING ROOM

Jekyll has sat at a desk and is writing in his journal.

**JEKYLL (V.O.)  
**_(as he writes)  
_September 25th - second week. My  
nightly transformations are beyond  
imagining. As delightful as wine,  
yet tenfold more intoxicating. Such  
delirium occurs that I can only  
recall feeling younger, lighter,  
and twice as alive. I have altered  
the balance of the formula, in  
hopes to remember more about these  
strange, new, sweet sensations.  
Tonight I shall...

After a moment, Poole comes in from another part of the  
house.

**POOLE  
**A young woman to see you, sir. The  
kind one cannot mistake. She is  
without appointment.

**JEKYLL  
**Send her away.

**POOLE  
**Yes sir. I cannot imagine how she  
came to have your visiting card,  
sir.

A pallor sets on him, realizing who she must be.

**JEKYLL  
**_(taking the card)  
_My card! I shall see her Poole.

Poole goes out to admit Lucy.

Jekyll quickly takes off his housecoat, takes a clean jacket  
from a coat-tree and puts it on. He looks at himself in the  
mirror, smooths his hair down, rubs his face.

When he looks into the mirror again, Lucy has entered and is  
standing behind, looking at him in the mirror. She is dressed  
as well as she can manage, in worn but very clean clothes,  
her pathetic best.

Jekyll turns to her, smiles uncertainly.

**JEKYLL (CONT'D)  
**Good morning, Miss...?

**LUCY  
**Lucy... Lucy 'Arris. I'm the one ya  
met that night in the pub –  
remember?

**JEKYLL  
**Yes, I remember. Please.  
_(indicating her to sit)_

Lucy sits at the end of the chaise longue.

**LUCY  
**Ya said if I "ever needed a  
friend"...

**JEKYLL  
**Yes, yes of course.

She looks at him for another moment, then takes off her  
shawl, unbuttons her blouse, lowers it, and turns to show  
Jekyll the abrasions and bruises on her back and shoulders.  
Jekyll sees, we don't. He is horrified.

**LUCY  
**Pretty, i'n' it?

**JEKYLL  
**My God!

He draws a large white screen around the chaise, then goes to  
the glass presses on either side of the fireplace, extracts  
ointment and bandages for her, then quickly washes his hands.  
Jekyll moves back to her, cleans and dresses her wounds.

**JEKYLL (CONT'D)  
**Who on earth would do such a thing?

**LUCY  
**Things like this 'appen where  
I come from.

**JEKYLL  
**You have family?

**LUCY  
**Ain't got no family.

**JEKYLL  
**_(goes to his medicine cart  
__and wets a small cloth  
__with antiseptic)  
_Why didn't you go to the police?

**LUCY  
**A girl like me makin' a complaint  
about a man like 'im? A rich man?  
Besides, 'e keeps comin' 'round,  
and I'm afraid of what 'e might do  
if 'e found out I went to the  
police. You don't know, sir... 'e'd  
kill me if 'e 'ad a mind to. 'E  
ain't 'uman. 'Yde 'e calls 'imself  
– Edward 'Yde.

Far away and overhead, unheard by Lucy and Jekyll: the brief  
lamenting sound of "angel voices, weeping." It fades in an  
instant. Jekyll reacts to the hazy memory, shuddering in  
spite of himself.

He returns to treating her back - she winces in pain.

**JEKYLL  
**I'm so sorry... I'm so... sorry.

**LUCY  
**I never 'ad someone like you be  
nice to me before. Ya' make me feel  
like a lady.

**JEKYLL  
**You are a most extraordinary lady.

He continues to treat her back, crossing to the medicine cart  
to prepare bandages, and returning to administer them to her.

SONG: "SYMPATHY, TENDERNESS"

**LUCY (V.O.)  
**SYMPATHY, TENDERNESS,  
WARM AS THE SUMMER,  
OFFER ME THEIR EMBRACE  
FRIENDLINESS, GENTLENESS,  
STRANGERS TO MY LIFE,  
THEY ARE THERE IN HIS FACE

GOODNESS AND SWEETNESS AND KINDNESS  
ABOUND IN THIS PLACE  
I AM IN LOVE WITH THE THINGS  
THAT I SEE  
IN HIS FACE

IT'S A MEMORY I KNOW  
TIME WILL NEVER ERASE

He offers his hand. She takes it and pulls him to her and  
kisses him. He pulls away, stunned that he has just kissed  
her. A memory stirring in his mind.

**JEKYLL  
**Forgive me - you've caught me at a  
most difficult time. Good day, Miss  
Harris.

**LUCY  
**Good day.

He looks at her for another long moment, then stands and  
moves to the other side of the screen, putting away bandages  
and ointment, and washing his hands again.

SONG: "SOMEONE LIKE YOU"

**LUCY (CONT'D)  
**I PEER THROUGH WINDOWS  
WATCH LIFE GO BY  
DREAM OF TOMORROW,  
AND WONDER WHY

THE PAST IS HOLDING ME,  
KEEPING LIFE AT BAY  
I WANDER LOST IN YESTERDAY,  
WANTING TO FLY  
BUT SCARED TO TRY

IF SOMEONE LIKE YOU  
FOUND SOMEONE LIKE ME  
THEN SUDDENLY,  
NOTHING WOULD EVER BE THE SAME

MY HEART WOULD TAKE WING  
AND I'D FEEL SO ALIVE  
IF SOMEONE LIKE YOU  
FOUND ME!

She puts her blouse back on and remains sitting, breathing in  
the atmosphere of this refuge. Jekyll is now visible only as  
a shadow, behind the white screen. She looks at this shadow.

**LUCY (CONT'D)  
**SO MANY SECRETS  
I LONG TO SHARE  
ALL I HAVE NEEDED  
IS SOMEONE THERE

TO HELP ME SEE A WORLD  
I'VE NEVER SEEN BEFORE!  
A LOVE TO OPEN EVERY DOOR  
TO SET ME FREE  
SO I CAN SOAR!

IF SOMEONE LIKE YOU  
FOUND SOMEONE LIKE ME  
THEN SUDDENLY,  
NOTHING WOULD EVER BE THE SAME

MY HEART WOULD TAKE WING  
AND I'D FEEL SO ALIVE  
IF SOMEONE LIKE YOU  
FOUND ME!

IF SOMEONE LIKE YOU  
FOUND SOMEONE LIKE ME  
THEN SUDDENLY,  
NOTHING WOULD EVER BE THE SAME

MY HEART WOULD TAKE WING  
AND I'D FEEL SO ALIVE  
IF SOMEONE LIKE YOU LOVED ME!  
LOVED ME!  
LOVED ME!

She sits perfectly still, rapt by the vision of a different  
future. Jekyll's shadow has disappeared now. We hear the  
distant, mournful sound of a river barge's horn, as we move  
into...

EXT. EAST END EMBANKMENT - NIGHT

The embankment, near "The Red Rat"; dusk. Smoke and wisps of  
grey-brown fog rise from the river, obscuring the façades of  
shabby houses, many of their windows and doors boarded up.

As Lucy is wandering along, she passes a crouched silhouette.  
She looks back at him. Hyde stands up. Lucy quickly scurries  
away and Hyde follows after her.

Moments later, Nellie, in her red dress, comes out of the  
shabbiest of the houses, followed by a surprising client...

...the BISHOP OF BASINGSTOKE, dressed soberly, with clerical  
collar, last seen with the HOSPITAL BOARD OF GOVERNORS  
sanctimoniously looting against the Jekyll proposals that  
have precipitated the circumstances in which we now find  
ourselves.

She leads him by the hand. The Bishop is clearly very content  
to be in the dubious company of Nellie, who is jangling her  
front door keys coquettishly as she walks.

**NELLIE  
**_(sexily)  
_I 'ope everythin' was to your  
satisfaction, Yer Grace?

**BISHOP  
**_(looking around a bit nervously)  
_Very nice. Yes. I'd like to see you  
again, next week.

**NELLIE  
**Certainly, Yer Grace. 'Appy to  
oblige. Must make a pleasant change  
from all your charity work.  
_(hand out, as the Bishop  
__starts to depart)  
_Of course, I don't do it for  
charity!

The Bishop gets the hint. He takes out money and gives it to  
Nellie.

**NELLIE (CONT'D)  
**Long as ya' 'ave a good time, Yer  
Grace, that's all that matters to  
me! 'Til Wednesday, then?

**BISHOP  
**Very nice. Yes.

She departs. The Bishop waves to her lightly, as though  
wafting a blessing. Nellie disappears down a narrow alley  
between the old houses.

The Bishop looks around again, nervously, then starts off. He  
passes a few VAGRANTS huddled around a fire. A few BUMS are  
drinking, some slumped in heaps.

Suddenly...

...seemingly out of nowhere the Bishop hears the echoes of a  
voice call out to him.

**HYDE (O.S.)  
**Your Grace...

A heartbeat pulses on the soundtrack. The Bishop slowly turns  
around, but nobody acknowledges him. He continues on.

**HYDE (O.S.) (CONT'D)  
**You hypocrite!

The word echoes.

The Bishop whips around, certain of what he's heard. He  
searches the few empty faces nearby.

**HYDE (O.S.) (CONT'D)  
**If it isn't the Romeo of the  
Cloth...  
_(a low sinister laugh)  
_And the Juliet of the Gutter!

Suddenly, as though from nowhere, Edward Hyde stands before  
him, grinning savagely, crouched, leaning on a walking stick  
with a heavy pewter knob, ready for action.

**HYDE (CONT'D)  
**A truly pretty pair!

**BISHOP  
**Who are you?

Hyde slowly removes his hat and grins at the Bishop. The  
street people gradually leave, sensing danger. The Bishop  
tries to walk around him in a huff. Hyde blocks his path.

**HYDE  
**How it warms my heart to know that  
even here in the sewers of  
London...

Unsuccessful at passing around Hyde, the Bishop turns and  
walks the other way.

**HYDE (CONT'D)  
**...romance can blossom for a  
hypocrite!

Outraged, the Bishop whips around in fury.

**BISHOP  
**_(blusters)  
_How dare you speak to me like that,  
sir! Do you know who I am?

**HYDE  
**Oh, yes...  
_(walks up to him slowly)  
_Your Grace.  
_(bows down before him in a  
__grandiose manner)  
_I know exactly who - you - are.  
_(grabs his shirt)  
_You are Basil, the 14th Bishop of  
Basingstoke.  
_(throws him)  
_You're on the Board  
_(kicks him)  
_of St. Jude's Hospital,  
_(points)  
_and you are an obscene,  
_(hits him)  
_self-indulgent,  
_(kicks him)  
_corrupt,  
_(presses him with cane)  
_and malignant - hypocrite!

The Bishop throws him off, grabbing his cane.

**HYDE (CONT'D)  
**Hypocrite! Hypocrite!

The Bishop tries to get away, Hyde chases him.

SONG: "ALIVE" (reprise)

Hyde catches him and throws him down and hits him with his  
cane on each verse of the song. Each growled word is  
accompanied by another shattering blow of the walking stick,  
to the Bishop's head, shoulders, rib-cage.

**HYDE (CONT'D)  
**AND I FEEL I'LL LIVE ON FOREVER  
WITH SATAN HIMSELF BY MY SIDE!  
AND I'LL SHOW THE WORLD THAT  
TONIGHT AND FOREVER  
THE NAME TO REMEMBER'S  
THE NAME EDWARD HYDE!

On the final word, he suddenly brings the pewter knob  
crashing down on the Bishop's skull, felling him like an ox.  
Finally, the Bishop lies still. The only sound is Hyde's  
heavy, arrhythmic, rasping breath.

Hyde prods the Bishop's body a few more times with the  
walking stick, then laughs, steps over the body, and walks to  
the river's edge, invigorated, stretching his ape-like frame.

**HYDE (CONT'D)  
**WHAT A FEELING TO BE SO ALIVE!  
I HAVE NEVER SEEN ME SO ALIVE!  
SUCH A FEELING OF EVIL INSIDE!  
THAT'S THE FEELING OF  
BEING EDWARD HYDE!

Fog rises from the river, obscuring the grinning, triumphant  
figure.

CUT TO BLACK:


	9. Chapter 6

DARKNESS

In the darkness, as though far away and above, in the ether,  
the upward-winding cry of unearthly voices, odd mourning  
wisps, as in the prologue - the "angels weeping."

**JEKYLL (V.O.)  
**September 29th. Day four of the  
latest adjusted formula. I believe  
I may finally be experiencing  
results with developing a memory of  
these nightly altered states. Faint  
shadows of wicked, unspeakable  
images keep haunting me. Dear God,  
I pray these are merely nightmares.

FADE IN:

EXT. NEGLECTED SQUARE BEHIND HARLEY STREET - LONDON - DAY

A smudgy lurid twilight discovers the same windowless façade  
of soiled red brick (as in the first scene), before which  
appears a CROWD of PEOPLE, swirling, mixing, then separating  
(like fog), various classes and attitudes, including a  
NEWSBOY hawking his papers. Throughout the verse, more and  
more people buy them to read about the shocking story,  
comment to each other about what they are reading.

SONG: "MURDER, MURDER"

**NEWSBOY  
**READ ABOUT THE HIDEOUS MURDER  
PROFANE, RELIGIOUS MURDER!

**FIRST GENTLEMAN  
**THAT POOR OLD BISHOP!  
WHAT A SHOCK!

**STREET VENDOR  
**SEEN WALKIN' WIV HIS DAUGHTER  
A MOMENT PRIOR TO SLAUGHTER!

**NEWSBOY  
**THE SHEPHERD TENDIN' TO HIS FLOCK!

**CROWD  
**_(variously, in various  
__London dialects)  
_'E DIED IN A LONDON SLUM!  
A SLAVE TO MARTYRDOM!  
'E DIED WITHOUT COMPLAINT!  
'E SHOULD BE MADE A SAINT!

'E'S GONE BACK 'OME TO GOD!  
IT ALL SEEMS VERY ODD!  
WHY SHOULD IT BE?  
THIS MYSTERY?

**ALL  
**MURDER, MURDER!  
IN THE NIGHT AIR!  
MURDER, MURDER!  
IT'S A NIGHTMARE!  
MURDER, MURDER!  
IT'S A RIGHT SCARE!  
BLOODY MURDER  
IN THE NIGHT!

MURDER, MURDER!  
MAKES YOUR 'EART THUMP!  
MURDER, MURDER!  
MAKES YOUR NERVES JUMP!  
MURDER, MURDER!  
MAKES YOUR BLOOD PUMP!  
BLOODY MURDER IN THE NIGHT!

Music continues, pumping, and the CROWD continues to mill and  
swirl, as we...

CUT TO:

EXT. OUTSIDE CATHEDRAL - DAY

A relatively modest aisle-exit from an imposing religious  
edifice. From within, we hear the conclusion of the BISHOP OF  
BASINGSTOKE's obsequies:

**PRIEST (O.S.)  
**SWEET DEATH HAS TAKEN  
THIS BRAVE MAN FROM US!

**CATHEDRAL CHOIR (O.S.)  
**REQUIEM AETERNAM

**PRIEST (O.S.)  
**FRIENDS, TAKE WHAT COMFORT  
THAT YOU CAN FROM US!

**CATHEDRAL CHOIR (O.S.)  
**DONA EIS, DOMINE...

The CROWD on the street has thinned considerably. Religious  
music continues within, as Stride steps forth from the aisle-  
exit. Hyde appears from behind a weather-stained buttress.

**HYDE  
**Mr. Stride... that was a wonderful  
eulogy they gave. Don't you agree?

Glossop overhears and joins them, more heavily made-up than  
usual, in his best dress uniform.

**GLOSSOP  
**I say! Who in Hell-fire are you?

**HYDE  
**There's nothing more tragic than a  
close friend's funeral... unless,  
of course,  
_(to Glossop)  
_it's your own... eh, General?

**GLOSSOP  
**I don't take your meaning, sir!

**HYDE  
**Yes...  
_(seizing the general's  
__shoulder in his claw-like  
__grip)  
_You miserable hypocrite!

Hyde hurls Glossop to the ground.

**HYDE (CONT'D)  
**Oh, don't look so distraught,  
Simon. They'll probably put up a  
statue in his memory!

The general opens his mouth wide, to cry out. Hyde straddles  
him and thrusts the large pewter knob of his walking stick  
into the gaping mouth, then pulls the stick sharply to one  
side, snapping the general's neck.

**ALL (O.S.)  
**GOD IN HEAVEN – NOW, FOREVER  
TAKE HIM HOME AND HOLD HIM NEAR!

Hyde laughs, one ape-like yelp, then disappears into a cellar  
or gutter. At the same time, distantly, there is a  
reminiscence of the child-like voices, winding upward through  
the ether – "the angels weeping."

Then, those of the crowd who have witnessed the crime come  
forward around the general's twisted corpse, and are joined  
by OTHERS, new to the scene.

DISSOLVE TO:

NEWSBOYS are doing a brisk business on the site of the  
murder. Their billboards read "WAR LORD GLOSSOP MURDERED" and  
"SECOND SLAYING IN FIVE DAYS." Some STREET PEOPLE gather in  
clusters, reading the sensational story splashed across the  
papers, stunned by the news. POLICEMEN try to control the  
crowd with lanterns and whistles. Stride is reporting to a  
DETECTIVE, who jots Stride's statements down on a pad of  
paper.

**NEWSBOY  
**Murder! Second London murder!  
General Glossop killed on the steps  
o' St. Paul's Cathedral!

**A MAN  
**LOOK AT THIS – ANOTHER MURDER!  
JUST LIKE THAT OTHER MURDER!

**STRIDE  
**THAT POOR OLD GENERAL GLOSSOP – DEAD!

**A BOY  
**LAST WEEK THE BISHOP COPPED IT!  
THE BLOKE WHAT DONE IT HOPPED IT!

**STRIDE  
**THE FELLER MUST BE OFF HIS HEAD!

**DETECTIVE  
**THAT'S TWO IN THE LAST FOUR DAYS!

**ANOTHER CROWD MEMBER  
**THIS KILLER HAS FANCY WAYS!

**A FOURTH  
**TO TOPPLE FROM THEIR PERCH  
THE ARMY AND THE CHURCH!

**STRIDE  
**HE HATES THE UPPER CLASS!

**A FIFTH  
**HE MUST BE ON HIS ARSE!  
WHO COULD IT BE?

**STRIDE  
**DON'T LOOK AT ME!

Stride storms away from the detective. The street people are  
in a panic.

**CROWD  
**MURDER, MURDER!  
MAKES ME BLOOD THIN!  
MURDER, MURDER!  
MAKES ME HEAD SPIN!  
MURDER, MURDER!  
STARTS ME DRINKIN'!  
BLOODY MURDER  
IN THE NIGHT!

The crowd begins to disperse again, and the street before the  
Cathedral clears.

CUT TO:

INT. A CARRIAGE - EVENING

We find ourselves in a carriage full of UPPER-CLASS PEOPLE en-  
route to an evening function. The group includes the  
remaining Board members, Sir Danvers, Emma... and three snooty  
GOSSIPS.

**EMMA  
**WHAT A SHAME DEAR GENERAL GLOSSOP.

**GOSSIPS  
**I HEAR THERE'S A LOT OF GOSSIP,  
ALTHOUGH IT DIDN'T COME FROM ME

**1ST GOSSIP  
**Never!

**2ND GOSSIP  
**No!

**3RD GOSSIP  
**Of course not!

Uncomfortable with the gossips' attitude, Emma diverts her  
attention to other conversation. The gossips glance back at  
Emma snobbishly.

**1ST GOSSIP  
**I SAY THAT IT GOES TO SHOW  
SOME PEOPLE WE THINK WE KNOW  
AREN'T WHAT THEY MIGHT APPEAR!

**2ND GOSSIP  
**HOW RIGHT YOU ARE, MY DEAR!

**GOSSIPS  
**IT'S SUCH A SHOCKING THING!  
BUT AWFULLY INTERESTING.  
WHO COULD IT BE?  
WELL NOW LET'S SEE!

EXT. STREETS OF LONDON (MONTAGE)

Various vignettes of street people wandering around,  
commenting to each other.

**CROWD  
**MURDER, MURDER!  
DOIN' FOLKS IN!  
MURDER, MURDER!  
IS THE WORST SIN!  
MURDER, MURDER  
HAS ME SCREAMIN'  
BLOODY MURDER IN THE NIGHT!

CUT TO:

INT. A PHARMACY - DUSK

The interior of a cramped, dirty apothecary; signs on the  
windows, which can be read in reverse: "PHARMACY" and  
"CLOSED."

JEKYLL, haggard and hastily clad, appears outside the door,  
and knocks loudly, repeatedly, impatiently on the frame of  
the doorway with the metal knob of his cane.

BISSET, a perennial victim of chemical stains and burns,  
appears from within the shop, and reluctantly opens to  
Jekyll.

**JEKYLL  
**Bisset, do you have the chemicals?

**BISSET  
**All but two, sir.

Bisset hands him a package, wrapped in brown paper.

**JEKYLL  
**When will you have the others?

**BISSET  
**Tomorrow night, sir. What are they  
for?

**JEKYLL  
**_(a growl, not his own voice)  
_It's none of your bloody business  
what they're for, Bisset!

**BISSET  
**No, sir. I'm sorry, sir. It's just  
that...  
_(concerned)  
_... you don't seem to be quite  
yourself, Doctor Jekyll.

**JEKYLL  
**_(softens)  
_I've been better, Bisset... I've been  
better.

He hurries out with the package. Bisset closes the door to  
his shop, locks it, and turns out the lights.

EXT. LONDON STREET - DUSK

As Jekyll rushes down the street, in the gathering darkness,  
we can hear members of the crowd gossiping about the murders  
on the street.

**UPPER CRUST ON THE** **STREET  
**LONDON HAS A KILLER  
ON THE LOOSE!  
COULD BE A GANG!

**LOWER CRUST  
**GOTTA GET 'IS HEAD INSIDE A NOOSE!  
THE MAN MUST HANG!

**CROWD  
**_(variously)  
_MAYBE HIS NERVE WILL FAIL HIM!  
THEY MUST GO OUT AND NAIL HIM!  
THEY'VE GOTTA TRAIL  
AN' JAIL HIM NOW!

**ALL  
**MURDER!

NO MATTER WHO WE'RE BLAMIN'  
TILL THEY PULL WOTSISNAME IN,  
THERE'S GONNA BE ONE FLAMIN' ROW!

MURDER, MURDER!  
IT'S A CURSE, MAN!  
MURDER, MURDER!  
IT'S PERVERSE, MAN!  
MURDER, MURDER!  
NOTHING'S WORSE THAN  
BLOODY MURDER IN THE NIGHT!

DISSOLVE TO:

EXT. MAYFAIR CLUB - NIGHT

The discreetly elegant doorway of "The Mayfair Club," the  
finest social and supper club in the West End. Gaslight  
flares brightly, even though fog has begun to gather in the  
late evening. The CROWD on the street is sparse again, and  
made up almost entirely of LADIES and GENTLEMEN OF  
DISTINCTION, on their way home after cultural or other  
pleasurable pursuits.

A MAÎTRE D'HÔTEL and a DOORMAN help an inebriated threesome –  
LADY BEACONSFIELD, flanked by PROOPS and LORD SAVAGE,  
doddering still more than when we last saw him – out the  
doorway of the club and down the steps to the street. Stride  
follows them, looking for a Hansom cab.

**SAVAGE  
**_(loudly)  
_I'm bored gutless with all these  
damned charity dinners, Bessie.

The MAÎTRE D'HÔTEL sends the DOORMAN to fetch their carriage,  
then disappears back into the club.

**PROOPS  
**Outrageous! When I order a decent  
claret, I expect a decent claret!

**BEACONSFIELD  
**Oh, Archie, you wouldn't know a  
decent claret if it poured itself  
down your shirt!

**PROOPS  
**_(incensed)  
_Bessie, that's preposterous, of  
course I would!

**BEACONSFIELD  
**Then why do you always serve that  
cheap swill when we dine at your  
place?

Savage and Lady Beaconsfield erupt in laughter, which is cut  
short, as Edward Hyde steps out of the fog, clothed in the  
fog's colors. Proops, startled, cries out. PEOPLE on the  
street stop to watch, but keep their distance, as does the  
returning Doorman.

**HYDE  
**Well, well, well if it isn't Faith,  
Hope... and Charity!

**PROOPS  
**And who are you, sir?

Stride turns and half looks on the conversation.

**HYDE  
**_(smiles)  
_Oh, nobody you would know, Sir  
Archibald - Lady Beaconsfield –  
Your Lordship.  
_(bowing to them, giving  
__Stride exactly the same  
__murderous grin that he  
__did before)_

Stride is now aware of impending danger as he tries to warn  
them.

**STRIDE  
**_(aghast)  
_You! ...Lady Beaconsfield, please,  
get inside!

He tries to get her and Savage to leave, they are afraid to  
move.

**PROOPS  
**_(stepping forward to  
__confront him, wobbling  
__drunkenly)  
_Step aside, you!  
_(prodding the intruder  
__with his umbrella)  
_Damn insolence! Have you arrested.

Hyde turns to him.

**STRIDE  
**My God! No...

Stride tries to stop Hyde, but Hyde knocks him to the ground  
with one mighty blow.

**HYDE  
**No one touches Hyde!

They all stand in shock at this show of violence. Proops  
makes a pathetic attempt to ward him off with his umbrella.

**PROOPS  
**This... this is my final admonition! ...

**HYDE  
**And this is mine!

He whips a gleaming knife from beneath his cape and drives it  
in beneath Proops' breastbone. Lady Beaconsfield, Lord  
Savage, and others on the street gasp, then stand, rooted in  
horror.

Hyde holds Proops on the knife blade for a long instant, then  
withdraws the knife, and Proops falls soddenly to the  
pavement. The "angels" are heard, distantly, "weeping."

Then Hyde turns and grins at Lady Beaconsfield and Lord  
Savage.

**HYDE (CONT'D)  
**Now let's have a closer look at you  
two!

Savage seizes Lady Beaconsfield's arm and starts back inside  
the club, followed by the Doorman.

Before she has taken more than a few steps, Hyde grabs Lady  
Beaconsfield's other arm and wrenches her away from Lord  
Savage's feeble grip.

**SAVAGE  
**Bessie!  
_(runs away pathetically  
__muttering for help)  
_Oh, God... Someone help...  
Please... anyone! ...Help!

But the Doorman has already disappeared, back into the club.  
Lady Beaconsfield, paralyzed with terror, stares into Hyde's  
glowing eyes and puts up very little resistance.

**HYDE  
**Bessie, my love... you really  
should know better... wearing your  
real diamonds out on the street!

He stretches out one claw-like long-fingered hand and wraps  
it around her necklace, while he holds her close to him with  
his other arm.

**HYDE (CONT'D)  
**You never know whom you might  
encounter!

**BEACONSFIELD  
**Pleeeease...

**HYDE  
**_(with total venom)  
_"Please"! That's a hard word for  
you to pronounce, isn't it, milady?  
It must be the first time you've  
used it!

She is about to speak, but he jerks and tightens the necklace  
around her throat, cutting off the supply of oxygen. She  
struggles, but only feebly, briefly, in his grasp. Then she  
is still – and again we hear "the angels weeping."

Her head dangles lifelessly from the necklace still in his  
grip. He jerks it from her and her body falls to the ground.

**HYDE (CONT'D)  
**You despicable old drunk!

A semi-conscious Stride painfully half sits up, trying to  
focus on the scene.

**HYDE (CONT'D)  
**_(to Stride)  
_Well, well, well! Mr. Stride! How  
convenient for me that you  
hypocrites all hang together!

Hyde suddenly grabs Stride and puts the knife to his neck,  
holding it there for a moment. Distant POLICE WHISTLES are  
heard.

**HYDE (CONT'D)  
**No... not yet!

With another maniacal laugh, Hyde runs off into the shadows,  
and Stride crawls off, as the fog swirls more thickly.

DISSOLVE TO:

MOMENTS LATER

A CROWD swarms around, amid confused shouting and the blowing  
of police whistles, as POLICEMEN come to bear PROOPS' body  
away. More lurid headlines – "BRUTAL DEATH OF LADY  
BEACONSFIELD AND SIR ARCHIBALD PROOPS," "DOUBLE MAYFAIR  
MURDER," etc., fill the eye and the news bills. EVERYONE  
looks appropriately nervous.

**FIRST NEWSBOY  
**READ ABOUT THE WORST TWO MURDERS!

**SECOND NEWSBOY  
**MUCH WORSE THAN THE FIRST  
TWO MURDERS!

**CROWD  
**THAT MAKES IT MURDERS  
THREE AN' FOUR!  
_(variously)  
_THEY'VE MURDERED DEAR OLD BESSIE!  
I HEAR EXTREMELY MESSY!  
AND POOR OLD ARCHIE IS NO MORE!  
(I'VE NEVER READ/HEARD  
SUCH BLOOD AND GORE!)

**ALL  
**THAT'S FOUR IN THE LAST EIGHT DAYS!  
IT'S LONDON'S LATEST CRAZE!

**FIRST NEWSBOY  
**THIS TIME HE WAS IN PARK LANE!

**SECOND NEWSBOY  
**AN' HE MAY COME BACK AGAIN!

**CROWD  
**UNTIL THE KILLER'S FOUND  
THERE'S DANGER ALL AROUND  
WHAT CAN WE DO?  
WE WISH WE KNEW!

The police now depart with the bodies. The crowd cries out,  
shoves and swarms.

**CROWD (CONT'D)  
**MURDER, MURDER!  
ONCE THERE'S ONE DONE  
MURDER, MURDER  
CAN'T BE UNDONE!  
MURDER, MURDER  
LIVES IN LONDON!  
BLOODY MURDER IN THE NIGHT!

ALL flee into the night.

Suddenly... (the audience should jump!)

...a shrill railway whistle is heard, and the sound of metal  
wheels grinding on metal rails!

CUT TO:

INT. PLATFORM AT KING'S CROSS STATION - DAY

A departure platform at King's Cross Station; the fog melding  
with steam from the rails and from the engines. Station noise  
continues.

Lord Savage, surrounded by several large carpet bags, is  
waiting for a train which will take him away from the horror  
that is London now.

Out of the OTHER TRAVELERS, RAILWAY OFFICIALS, and ASSORTED  
VENDORS, who idle about, Sir Danvers and Emma appear. They  
catch sight of Lord Savage. They come to him.

He shakes hands with Danvers, nods to Emma.

**DANVERS  
**Herbert! I got your message. What's  
the urgency?

**SAVAGE  
**I'm leaving London, Danvers.

**DANVERS  
**But why?

**SAVAGE  
**Isn't it obvious... with a  
homicidal maniac wiping out half  
our colleagues?

**EMMA  
**Where will you go, Lord Savage?

**SAVAGE  
**I'm telling that to no-one!  
_(as Emma nods, and both  
__she and Sir Danvers stare  
__at him)  
_I don't know what you've heard,  
Danvers, but I did everything I  
could to save the others...

**DANVERS  
**Of course.

**SAVAGE  
**Tried like hell...

**DANVERS  
**My dear Herbert, I don't doubt that  
you conducted yourself in a manner  
befitting an...

**SAVAGE  
**Oh, I did, Danvers! But I couldn't  
save them!

**DANVERS  
**Those are decisions for God to  
make. Both you and God know that  
you tried.  
_(shaking his hand again)  
_Well, Herbert, do have a safe  
journey.

Lord Savage seems reluctant to conclude the handshake, but  
then shakes Emma's hand too and the Carews depart.

There is another shrill railway whistle and a huge emission  
of steam from an unseen force. In this steam, virtually all  
others on the departure platform vanish, except Lord Savage,  
who peers nervously into the steam and fog all around him.

**HYDE  
**_(stepping out of a billow of steam)  
_Bad news from God, Herbert!

Lord Savage cries out, but it is the cry of a feeble old man,  
lost in the bustle of the station. And it is cut short, as  
Hyde grabs him and swiftly snaps his neck with one arm, then  
tosses Savage's frail body onto the rails below.

Hyde grins down at the body for an instant. Then he glances

up into the ether, as the familiar sound, "angels weeping,"  
winds upward briefly.

Hyde disappears back into the steam, fog and shadows.

EXT. LONDON STREET - NIGHT

Lord Savage's FUNERAL PROCESSION is in progress. The brightly  
lit city of London silhouettes the entire funeral procession  
led by a PRIEST, swinging an incense burner. He is followed  
by 4 MEN carrying a casket.

NEWSBOYS continue their brisk trade on both sides of the street.

**CROWD  
**_(variously)  
_CATCHIN' SUCH A MADMAN  
COULD BE HARD!  
HE'LL KILL AT WILL!  
'CAUSE THEY'RE ALL SO THICK  
AT SCOTLAND YARD!  
NO BRAINS, NO SKILL!

**ALL  
**HE'LL KILL US IF WE LET HIM!  
THEY BETTER GO AN' GET HIM!

**CROWD  
**_(variously)  
_I KNOW A WAY TO NET HIM!

HOW?

**ALL  
**MURDER!

NO MATTER WHO WE'RE BLAMIN'  
TILL THEY PULL WOTSISNAME IN,  
THERE'S GONNA BE,  
A FLAMIN' ROW!

THUNDER and LIGHTNING strike as the crowd reacts. UPPER CLASS  
open their umbrellas, some LOWER CLASS use their newspapers,  
shawls, etc. They all begin to scramble about from the rain.  
THUNDER and LIGHTNING continue to build to a peak as the  
crowd continues to panic.

**ALL (CONT'D)  
**MURDER, MURDER!  
ON OUR DOORSTEP!  
MURDER, MURDER!  
SO WATCH YOUR STEP!  
MURDER, MURDER!  
TAKE ONE MORE STEP  
YOU'LL BE MURDERED IN THE NIGHT!

MURDER, MURDER!  
ONCE THERE'S ONE DONE,  
MURDER, MURDER!  
CAN'T BE UNDONE!  
MURDER, MURDER!  
LIVES IN LONDON  
BLOODY MURDER  
IN THE NIGHT

On the final chord of music, a deafening clap of THUNDER and  
one brilliant flash of LIGHT hits as the panicky crowd  
disperses into darkness.


	10. Chapter 7

INT. DR. JEKYLL'S LABORATORY - NIGHT

Silence. Darkness, within which glass and metal are gleaming  
faintly; then a cloud passes from in front of the moon, and  
its bluish radiance, through a skylight, reveals the  
laboratory in Jekyll's Harley Street residence. It has been  
much used, and abused, since we last saw it. All the  
scientific paraphernalia is in a state of desperate disorder,  
and the doors to most of the glass presses stand open.

At first, the laboratory appears uninhabited. Then Emma Carew  
lights a small lamp on the desk, which is still relatively  
unencumbered. She stands at the desk and reads an entry from  
Jekyll's journal.

**EMMA  
**"I am dangerous, more dangerous  
than any wild animal stalking its  
prey..."

The laboratory door opens, and Emma turns, trembling, to the  
sound. A DARK FIGURE enters the laboratory, and sees Emma.

**JEKYLL  
**_(surprised, sharp and  
__angry)  
_What do you want here?

**EMMA  
**_(lifting the lamp, to see  
__who he is)  
_Henry?  
_(relieved, but also  
__embarrassed about prying)  
_Oh, you scared me - for a moment I  
thought - well, you didn't sound  
like you!

**JEKYLL  
**_(stepping into a shadow,  
__his voice husky, ill-  
__tempered)  
_How long have you been here? How  
long!

**EMMA  
**Just these few minutes... Poole let  
me into the office. Your laboratory  
door was left unlocked.  
_(a beat)  
_Henry, I have been desperate for  
some word -

**JEKYLL  
**_(furious)  
_And you thought you'd find it  
spying on my journal?

He lurches to the desk, slams the journal shut.

**JEKYLL (CONT'D)  
**What did you see?

**EMMA  
**I can't remember what I saw!

**JEKYLL  
**_(yelling)  
_What - did - you - see?

**EMMA  
**_(deeply upset)  
_Henry! Look at me! Are we unable to  
have a civil conversation? I  
understand that your work is  
unprecedented – and painful. I see  
what it is doing to you, to us, and  
yet I know that you must move  
forward. You believe in this so  
strongly.

Now he looks at her, confused, remorseful, returning to  
himself. He is shabbily dressed, in a grey-brown suit and  
cape.

**JEKYLL  
**_(slumps to sit at his  
__desk, almost a swoon)  
_Emma, these experiments are taking  
me to places I don't understand. I  
can't explain it to myself, let  
alone to you.

**EMMA  
**There's no need to explain, my  
dearest. You never promised the  
journey would be easy or pleasant –  
only that we would take it  
together.

SONG: "ONCE UPON A DREAM"

**EMMA (CONT'D)  
**WHEN THIS ALL BEGAN,  
WE KNEW THERE'D BE A PRICE

ONCE UPON A DREAM  
WE WERE LOST IN LOVE'S EMBRACE  
THERE WE FOUND A PERFECT PLACE,  
ONCE UPON A DREAM

ONCE THERE WAS A TIME  
LIKE NO OTHER TIME BEFORE  
HOPE WAS STILL AN OPEN DOOR,  
ONCE UPON A DREAM

She stands, watching him for a long moment. He cannot bear to  
face her. She starts to leave.

**EMMA (CONT'D)  
**AND I WAS UNAFRAID  
THE DREAM WAS SO EXCITING  
BUT NOW I SEE IT FADE,  
AND I AM HERE ALONE

ONCE UPON A DREAM  
YOU WERE HEAVEN-SENT TO ME  
WAS IT NEVER MEANT TO BE?  
ARE YOU JUST A DREAM?

COULD WE BEGIN AGAIN?  
ONCE UPON A DREAM

**JEKYLL  
**_(cries out, without looking up)  
_Emma, don't abandon me now. I do  
love you.

She goes out, closing the laboratory door behind herself.

Only now does Jekyll look up, in the direction of her exit. A  
sob shakes his body, but he fights it off.

He stands and looks at himself in the enormous gilt-framed  
mirror. Then he forces himself to turn away, moves back to  
the desk, takes up a pen, and writes in his journal.

**JEKYLL (V.O.) (CONT'D)  
**I am slowly losing control of  
myself. I dare not continue taking  
these nightly formulas. This Edward  
Hyde is a part of me, and yet he  
disappears within, like a stain of  
breath upon a mirror. He has found  
the perfect hiding place.

EXT. HARLEY STREET - DUSK

Lucy is at Jekyll's doorstep with Poole.

**POOLE  
**I'm sorry, miss. Perhaps next week.

**LUCY  
**I understand.

Embarrassed by this refusal, Lucy nods and walks away  
discouraged.

SONG: "NO ONE KNOWS WHO I AM"

**LUCY (CONT'D)  
**LOOK AT ME AND TELL ME WHO I AM –  
WHY I AM – WHAT I AM  
CALL ME A FOOL AND IT'S TRUE I AM  
I DON'T KNOW WHO I AM

IT'S SUCH A SHAME  
I'M SUCH A SHAM  
NO ONE KNOWS WHO I AM

ONCE THERE WERE SWEET POSSIBILITIES  
I COULD SEE JUST FOR ME  
NOW ALL MY DREAMS ARE JUST MEMORIES  
FATED NEVER TO BE

TIME'S NOT AFRAID,  
HURRYING BY  
I WONDER... WHO AM I?

AM I THE FACE OF THE FUTURE?  
AM I THE FACE OF THE PAST  
AM I THE ONE WHO MUST FINISH LAST?

LOOK AT ME AND TELL ME WHO I AM –  
WHY I AM – WHAT I AM  
WILL I SURVIVE?  
WHO WILL GIVE A DAMN  
IF I DON'T KNOW WHO I AM?

Emma is leaving the house from the previous scene.

**EMMA  
**Thank you, Poole.

**POOLE  
**Good evening, Miss Carew.

Lucy hears Emma's voice and looks around, as Emma sees her.

**LUCY  
**NOBODY KNOWS,  
NOT EVEN YOU...  
NO ONE KNOWS WHO I AM

Lucy hurries away. Emma is now suspicious by this second  
encounter. At the same moment, Utterson is arriving.

**UTTERSON  
**Emma? Is everything alright?

**EMMA  
**I - don't - know...

**UTTERSON  
**Is it Henry?

**EMMA  
**John, I'm worried.

**UTTERSON  
**I am too, Emma –  
_(tries to lighten the  
__mood)  
_\- but you know Henry.

**EMMA  
**John, I said I'm worried.

**UTTERSON  
**I'll see what I can do.

Utterson goes to enter the house.

INT. LUCY'S BEDROOM

Lucy's bedroom, above "The Red Rat," which attempts hominess,  
without escaping squalor. A single oil lamp burns on a table  
by the rumpled bed.

The room is empty for a moment, then footsteps are heard,  
ascending. Lucy comes in through the narrow door, which is  
already ajar, and hangs up her shawl, having just arrived  
from Jekyll's house.

**HYDE (O.S.)  
**Dearest Lucy...

Lucy spins around, startled. Hyde is lying on her bed.

**HYDE (CONT'D)  
**You weren't expecting me?

**LUCY  
**No... I – for a moment I thought it  
was someone else.

**HYDE  
**_(laughs to himself)  
_For a moment it almost was. You're  
late for our nightly rendezvous, my  
dear.

He gets a drink from her dresser.

**LUCY  
**I'm sorry – it won't 'appen again.

**HYDE  
**Isn't there something you'd like to  
tell me?

**LUCY  
**Whad'ya mean?

**HYDE  
**Wouldn't you like to tell me about  
your Harley Street Doctor Jekyll?

**LUCY  
**Doctor Jekyll? ...Ya' know 'im?

**HYDE  
**Oh yes, we are very old friends, he  
and I. You're such a fool Lucy! He  
won't see you again. He doesn't  
even know who you are. He's not the  
man you think he is. He shares all  
your little secrets!

**LUCY  
**Doctor Jekyll wouldn't...

**HYDE  
**Really?  
_(mockingly)  
_"I never had someone like you be  
nice to me before. You make me feel  
like a lady."

Lucy is deeply hurt. She is frightened of him.

**HYDE (CONT'D)  
**Why do you go there every day?

**LUCY  
**How do you know I...?

**HYDE  
**Lucy – I know where you are every  
moment I'm gone. I know what you  
think... I know what you feel.  
Can't you see? We are one, you and  
I... love and hate share the same

appetite, my dear!

**LUCY  
**It's a dangerous game...

Hyde pulls her tightly against him.

SONG: "IT'S A DANGEROUS GAME"

**LUCY (CONT'D)  
**I FEEL YOUR FINGERS  
COLD ON MY SHOULDER –  
YOUR CHILLING TOUCH  
AS IT RUNS DOWN MY SPINE  
WATCHING YOUR EYES  
AS THEY INVADE MY SOUL,  
FORBIDDEN PLEASURES  
I'M AFRAID TO MAKE MINE...

AT THE TOUCH OF YOUR HAND,  
AT THE SOUND OF YOUR VOICE,  
AT THE MOMENT YOUR EYES MEET MINE,  
I AM OUT OF MY MIND,  
I AM OUT OF CONTROL,  
FULL OF FEELINGS I CAN'T DEFINE

**HYDE  
**IT'S A SIN WITH NO NAME...

**LUCY  
**LIKE A HAND IN A FLAME

**HYDE  
**AND OUR SENSES PROCLAIM...

**BOTH  
**IT'S A DANGEROUS GAME!

**HYDE  
**A DARKER DREAM THAT HAS NO ENDING,  
SOMETHING UNREAL  
THAT YOU WANT TO BE TRUE

**LUCY  
**A STRANGE ROMANCE  
OUT OF A MYSTERY TALE

**HYDE  
**THE FRIGHTENED PRINCESS  
DOESN'T KNOW WHAT TO DO!

DOES SHE JUST RUN AWAY?  
DOES SHE RISK IT AND STAY?  
EITHER WAY, THERE'S NO WAY TO WIN!

**LUCY  
**ALL I KNOW IS I'M LOST  
AND I'M COUNTING THE COST  
MY EMOTIONS ARE IN A SPIN

I DON'T KNOW WHO'S TO BLAME...

**HYDE  
**IT'S A CRIME AND A SHAME...

**LUCY  
**BUT IT'S TRUE ALL THE SAME...

**BOTH  
**IT'S A DANGEROUS GAME!

NO ONE SPEAKS,  
NOT ONE WORD  
ALL THE WORDS ARE IN OUR EYES

**LUCY  
**SILENCE SPEAKS...

**HYDE  
**_(he echoes her)  
_SILENCE SPEAKS...

**LUCY  
**LOUD AND CLEAR...

**HYDE  
**_(he echoes her)  
_LOUD AND CLEAR

**LUCY  
**ALL THE WORDS...

**BOTH  
**WE WANT TO HEAR!

AT THE TOUCH OF YOUR HAND,  
AT THE SOUND OF YOUR VOICE,  
AT THE MOMENT YOUR EYES MEET MINE,

I AM OUT OF MY MIND,  
I AM OUT OF CONTROL,  
FULL OF FEELINGS I CAN'T DEFINE

**LUCY  
**IT'S A SIN WITH NO NAME

**HYDE  
**NO REMORSE AND NO SHAME

**BOTH  
**FIRE, FURY, AND FLAME,  
'CAUSE THE DEVIL'S TO BLAME  
AND THE ANGELS PROCLAIM...  
IT'S A DANGEROUS GAME!

He places her on the bed and lies on top of her as we

FADE TO:

INT. DR. JEKYLL'S CONSULTING ROOM

Poole and Emma are in the middle of a discussion.

**EMMA  
**Of course, Poole. I know you are  
completely devoted to Doctor  
Jekyll.

**POOLE  
**Well, I... I do not wish to judge  
him uncharitably.

**EMMA  
**But Poole, please, under these  
extraordinary circumstances...

**POOLE  
**Yes, miss. As you know, for weeks  
now, the Doctor has been locked in  
that laboratory. He has instructed  
even me not to disturb him for any  
reason.

**EMMA  
**Have you not seen him at all during  
this time?

**POOLE  
**No, miss. I have been told to leave  
all his meals outside the door and  
go away!

Emma wonders if this has to do with the lower class woman she  
has seen at Jekyll's doorstep... so she broaches the  
subject...

**EMMA  
**Poole, tell me... has he been alone  
in there all this time?

**POOLE  
**Alone, miss...?

**EMMA  
**Come Poole, you'd hardly be  
disloyal in telling me.

**POOLE  
**Yes, miss. Each night I have been  
leaving him his tray outside the  
door – and from inside the  
laboratory, I have heard these...  
noises. And a voice I do not  
recognize.

**EMMA  
**Someone has been in there with him?

**POOLE  
**_(nods)  
_Last night, I heard whoever it was  
– crying – weeping, like an  
animal... the strangest sound you  
ever heard, miss.

**EMMA  
**Thank you, Poole.  
_(upset)  
_...thank you.


	11. Chapter 8

INT. LABORATORY

Jekyll, frantic and on edge, is writing in his journal.

**JEKYLL (V.O.)  
**October 7th, after midnight. The  
experiment is out of...  
_(then, crossing it out)  
_I am out of control. I so delight  
in the pleasures of Hyde that a  
battle of wills is constantly  
raging inside me... I cannot bear  
it much more. The transformations  
are starting to occur of their own  
accord. I am convinced that the  
only way out is to make an  
antidote. I must destroy this  
monster inside me. The beast has  
taken a heavy toll – not only on  
me, who can yet be saved, but on  
others who cannot.

A knock. Insistent. Jekyll quickly pulls a revolver from its  
hiding place and turns to the door.

**UTTERSON (O.S.)  
**Henry! Henry, it's John!

The laboratory door is flung open again. Utterson has stepped  
into the laboratory, looks around at the condition which it  
and Jekyll are in.

**UTTERSON (CONT'D)  
**Henry, what in the hell is going  
on?

**JEKYLL  
**John, do you trust me?

**UTTERSON  
**Why are you keeping everyone in the  
dark like this?

**JEKYLL  
**Do you trust me?

**UTTERSON  
**Of course I trust you, Henry!

**JEKYLL  
**Then there is something I must ask  
you to do for me.

Jekyll goes to his desk and writes out a prescription for  
Utterson to take to Bisset.

**UTTERSON  
**You must give me some answers  
first.

**JEKYLL  
**John, if I told you, you would not  
believe me. These experiments have  
taken control of me – like an  
addiction. That's all I can say.  
Now please – no further questions.  
_(a pause)  
_John, listen... Bisset, the  
apothecary, can acquire this  
quantity of rare drugs for me.  
_(hands him the prescription)  
_When they arrive, I need you to  
collect them and bring them here.

**UTTERSON  
**But why are you...?

**JEKYLL  
**John, please, you've got to  
understand... there is danger for  
me out there. I can't give you  
explanations. I just... I cannot  
leave this place. You must trust me  
– a few more days.

**UTTERSON  
**_(seeing his desperation;  
__flatly)  
_I don't like this, Henry. Not one  
bit.

Utterson starts to leave, but stops when he sees the gun. He  
picks it up.

**UTTERSON (CONT'D)  
**Your father's revolver? And loaded?  
...Henry, why?

**JEKYLL  
**_(thinking quickly)  
_To protect myself from the killer  
out there. I suggest you do the  
same.

**UTTERSON  
**Of course, but do be careful,  
Henry!

Utterson goes out of the laboratory, weary and uneasy,  
leaving the door open behind himself.

Jekyll watches his friend go, then moves to the door, looks  
out.

**JEKYLL  
**_(alone, speaks softly in  
__the direction of  
__Utterson's exit)  
_Yes, my friend, my life is in the  
balance... all our lives. Hyde's  
life too.

He closes the laboratory door, then moves back to the  
enormous mirror, and looks within it.

SONG: "REFLECTIONS" (Jekyll's Soliloquy)

**JEKYLL (CONT'D)  
**MY TWO NATURES  
HAVE MEMORY IN COMMON  
I AM AWARE  
THAT I'M SLOWLY LOSING HOLD  
OF MY ORIGINAL AND BETTER SELF,  
AND BECOMING ABSORBED  
INTO MY SECOND AND WORSE SELF

HYDE,  
ALONE IN THE RANKS OF MANKIND,  
IS PURE EVIL  
_(spoken)  
_As Jekyll, I can share in the  
pleasures and wickedness of Hyde. I  
have more than a father's interest  
in him, and he has more than a  
son's indifference towards me.  
_(sung)  
_AS HYDE,  
I CARE ONLY FOR MYSELF  
AND NOTHING FOR JEKYLL!

AS JEKYLL,  
I KNOW HOW HYDE FEARS MY POWER  
TO CUT HIM OFF –  
BY SUICIDE!

AND YET I FIND IT IN MY HEART  
TO PITY HIM  
SO WONDERFUL IS HIS LOVE FOR LIFE!  
SO WONDERFUL IS HIS LOVE FOR LIFE!

He remains, staring fixedly into the enormous mirror. CAMERA  
PUSHES IN on the mirror as his reflection begins to change.

DISSOLVE TO:

INT. THE CAREW HOUSE - DAY

A more comfortable, less formal room in the Carew residence,  
where Emma sits, staring out a high and wide window at the  
constant rainfall. Emma, now convinced that Jekyll must be  
having an affair, is sad.

SONG: "IN HIS EYES"

**EMMA  
**I SIT AND WATCH THE RAIN...  
AND SEE MY TEARS RUN  
DOWN THE WINDOWPANE

EXT. THE EAST END - SAME MOMENT

A dripping, reeking bridge in the East End, near "The Red  
Rat," where Lucy has sought shelter from the downpour. She is  
disillusioned by what Hyde has just told her about Jekyll and  
can't believe she could have been so wrong about him, and his  
interest in her. Occasionally, beyond the bridge, we see the  
frail masts and tattered sails of river craft, dipping past.

**LUCY  
**I SIT AND WATCH THE SKY...  
AND I CAN HEAR IT BREATHE A SIGH

I THINK OF HIM...

INT. THE CAREW HOUSE

Emma continues staring out the rain-streaked window.

**EMMA  
**HOW WE WERE...

EXT. THE EAST END

**LUCY  
**AND WHEN I THINK OF HIM...

INT. THE CAREW HOUSE

**EMMA  
**THEN I REMEMBER...

EXT. THE EAST END

**LUCY  
**_(Emma's voice joining and  
__blending with hers from  
__off-screen)  
_REMEMBER...

INT. THE CAREW HOUSE

**EMMA  
**IN HIS EYES, I CAN SEE  
WHERE MY HEART LONGS TO BE!

EXT. THE EAST END

**LUCY  
**IN HIS EYES I SEE A GENTLE GLOW...  
AND THAT'S WHERE I'LL BE SAFE  
I KNOW

INT. THE CAREW HOUSE

**EMMA  
**SAFE IN HIS ARMS,  
CLOSE TO HIS HEART...

EXT. THE EAST END

**LUCY  
**BUT I DON'T KNOW  
QUITE WHERE TO START

INT. THE CAREW HOUSE

**EMMA  
**BY LOOKING IN HIS EYES,  
WILL I SEE BEYOND TOMORROW?

EXT. THE EAST END

**LUCY  
**BY LOOKING IN HIS EYES,  
WILL I SEE BEYOND THE SORROW  
THAT I FEEL?

INT. THE CAREW HOUSE

**EMMA  
**WILL HIS EYES REVEAL TO ME  
PROMISES OR LIES?

EXT. THE EAST END

**LUCY  
**BUT HE CAN'T CONCEAL FROM ME  
THE LOVE IN HIS EYES!

INT. THE CAREW HOUSE

**EMMA  
**I KNOW THEIR EVERY LOOK!  
HIS EYES!

EXT. THE EAST END

**LUCY  
**THEY'RE LIKE AN OPEN BOOK!  
HIS EYES!

INT. THE CAREW HOUSE

**EMMA  
**BUT MOST OF ALL...  
_(Lucy's voice joining and  
__blending with hers from  
__off-screen)  
_THE LOOK THAT HYPNOTIZED ME!  
_(solo again)  
_IF I'M WISE, I WILL WALK AWAY  
AND GLADLY!

EXT. THE EAST END

**LUCY  
**BUT SADLY, I'M NOT WISE!  
IT'S HARD TO TALK AWAY THE MEMORIES  
THAT YOU PRIZE

INT. THE CAREW HOUSE

**EMMA  
**_(comes to an empowering  
__realization of truth)  
_LOVE IS WORTH FORGIVING FOR

EXT. THE EAST END

Lucy determines the reason Jekyll won't see her anymore is  
because of her station in life. But, she realizes she felt  
loved when he looked at her, and for the first time, she's  
actually loved someone!

**LUCY  
**NOW I REALIZE...

INT. THE CAREW HOUSE

**EMMA  
**_(Lucy's voice joining and  
__blending with hers from  
__off-screen)  
_EVERYTHING WORTH LIVING FOR  
IS THERE IN HIS EYES!  
_(solo again)  
_LOVE IS WORTH FORGIVING FOR  
NOW I REALIZE...

EXT. A BRIDGE IN LONDON'S EAST END

**LUCY  
**NOW I REALIZE...  
_(Emma's voice joining and  
__blending with hers from  
__off-screen)  
_EVERYTHING WORTH LIVING FOR  
IS THERE IN HIS EYES!

The mournful horn of a river barge makes Lucy shudder. She  
wraps her ragged cloak around her shoulders more tightly, and  
pulls her cloth cap down more snugly. Grey light, reflecting  
off the nearby river, paints eerie patterns on the underside  
of the bridge.

INT. DR. JEKYLL'S LABORATORY - NIGHT

Silence. Grey moonlight, smudged by fog, creeps in through  
the skylight. A pungent chemical smell hangs heavily in the  
air.

In the darkness, we hear:

**JEKYLL (V.O.)  
**Day three since destroying all  
formulas. Hyde is subdued, and yet  
deep within, I feel his desperation  
to emerge, and it is taking a heavy  
toll on me. To rid him completely,  
I need an antidote. I must have  
those chemicals soon! Without them,  
I know well that I risk death.

The camera finds Jekyll, who can barely be seen in the  
shadows, slumped in the armchair at his desk, his head  
resting on the journal. He is exhausted and wracked with the  
deep impression of great suffering. His hair is matted; his  
clothing is disheveled and stained. He is obviously going  
through withdrawals.

There is a tentative knock at the laboratory door. Jekyll  
does not move.

A louder knock. No response.

The door is opened, and Utterson stands, silhouetted in the  
light from the next room. He carries the chemical case.

**UTTERSON  
**Henry? ...Henry...

He moves a bit further into the room, turns up a gaslight;  
then another.

The laboratory is revealed, in a still more deplorable state,  
shattered and scorched beakers, test-tubes and tubing, the  
debris of abortive experiments everywhere; the glass panels  
in several of the presses are also shattered; tables and  
other furnishings have been overturned, as though in a  
catastrophic struggle; acrid smoke and fumes continue to rise  
through the grey air from recent disappointments.

**UTTERSON (CONT'D)  
**Henry...  
_(turns and sees Jekyll,  
__stares in horror and  
__disbelief at the sight)  
_...oh, my God! Henry! You're destroying yourself.

**JEKYLL  
**Perhaps.  
_(with deep shame)  
_But only to save my father...

**UTTERSON  
**_(pulling himself together)  
_You must save yourself... before these chemicals kill you.

**JEKYLL  
**_(sees the chemical case as  
__Utterson kneels beside  
__him)  
_The chemicals! Thank God! I can yet  
be saved!  
_(rises and stumbles)  
_There's not much time. John,  
please, a most urgent errand. Take  
this and deliver it for me.

He searches inside the desk for a moment, and takes out  
another sealed envelope; hands it to Utterson.

**UTTERSON  
**_(perusing the name and  
__address on the envelope)  
_"Miss Lucy Harris, The Red Rat,  
Camden Town." Henry, is this that  
place...?

**JEKYLL  
**_(not wanting to face  
__Utterson on this issue)  
_It's a debt I owe. A private  
affair. Tell her she must leave  
London.

Utterson, remembering the type of establishment, fears Jekyll  
has become involved with one of the women there – and worse,  
that the debt he "owes" might be because he got her pregnant,  
thus asking her to leave to minimize the shame.

**UTTERSON  
**Henry! What is it you're saying?

**JEKYLL  
**John, in the name of friendship...  
do not ask! Please, go now! With  
these chemicals you have brought me  
– I promise you I can find an  
antidote that will destroy Hyde  
forever.

**UTTERSON  
**Who?

**JEKYLL  
**_(covers quickly as he  
__grabs a large key,  
__realizing his error)  
_I can save myself – regain control.  
Just go now, I beg of you...  
_(handing him the key)_

**UTTERSON  
**What's this?

**JEKYLL  
**The key, for the door. I can trust  
no one else with this – least of  
all myself. I dare not leave this  
place... not before the next step  
is accomplished!

**UTTERSON  
**God help you, Henry.

Utterson hurries out, closing the laboratory door soundly  
behind himself.

Jekyll stands, trembling as he walks; he passes before the  
enormous mirror, glances into it only for a moment, then goes  
to a laboratory table, which he sweeps clear of much of its  
debris.

He unwraps the drugs from the parcel, begins to measure and  
combine them, as he sings:

SONG: "THE WAY BACK"

**JEKYLL  
**COULD IT BE?  
HAVE I REALLY LOST MY WAY?  
HAVE I LOST MY MIND?  
WILL I LOSE THE DAY?  
AM I A GOOD MAN?  
AM I A MADMAN?  
IT'S SUCH A FINE LINE  
BETWEEN A GOOD MAN AND A BAD...

He begins mixing the chemicals.

**JEKYLL (CONT'D)  
**SOMEHOW I HAVE TO GET BACK  
TO THE PLACE  
WHERE MY JOURNEY STARTED  
FIND THE COURSE I CHARTED  
WHERE I FIRST DEPARTED!

SOMEHOW I HAVE TO HANG ON  
TO THE VISION  
THAT FIRST INSPIRED ME  
TO THE HOPE THAT FIRED ME  
WHEN THE WORLD ADMIRED ME!

I'LL FIND MY WAY BACK  
TO THE HIGHER GROUND  
AND SEE THE VIEW I KNEW BEFORE!  
I'LL SEARCH THE WORLD  
UNTIL THE ANSWER'S FOUND,  
TURN MY DESPAIR AROUND  
FOREVER MORE!

SOMEHOW I'VE GOT TO REBUILD  
ALL THE DREAMS  
THAT THE WINDS HAVE SCATTERED  
FROM WHAT FATE HAS SHATTERED  
I'LL RETRIEVE WHAT MATTERED!

SOMEHOW I'VE GOT TO GO ON  
TILL THE EVIL HAS BEEN DEFEATED,  
TILL MY WORK IS COMPLETED,  
I WILL NOT BE CHEATED!

GOD, YOU MUST HELP ME CARRY ON!  
WHEN IT SEEMS ALL HOPE HAS GONE,  
I HAVE GOT TO CARRY ON!

(For continuity later on, it is important that by the end of  
this song Jekyll has some form of antidote mixtures racked on  
the storage table.)

At the tail end of his last held note, another transformation  
begins to occur spontaneously, inside and outside him,  
shaking him with spasms. For the first time, we see for  
ourselves that Hyde has now become powerful enough to emerge  
on his own will!

**JEKYLL (CONT'D)  
**_(cries out in terror)  
_It can't be... No! This can't  
be!...

But the cry turns into Hyde's malicious roar of sadistic  
pleasure, as he moves toward the enormous mirror again,  
triumphantly.

A flash of brilliant sheet lightning, through the skylight,  
followed by a low roll of thunder across the width of the  
sky.


	12. Chapter 9

INT. DOOR TO LUCY'S BEDROOM

A narrow hallway, with doors leading to several rooms, above  
"The Red Rat." Lucy is wearing her shawl and a skirt that she  
has hastily thrown over her corset. Utterson has given her  
Jekyll's note, which she has been reading.

**LUCY  
**Leave London?

**UTTERSON  
**As soon as possible.

**LUCY  
**_(looking at the money that  
__came with the note)  
_'e don't owe me nothin'.

**UTTERSON  
**I beseech you to do as he asks. I'm  
sure it is for the best. Good luck  
to you, Miss Harris. May you find a  
happier life elsewhere. Take care  
of yourself.

Lucy watches him leave. She puts the money in her corset and  
enters her bedroom.

INT. LUCY'S BEDROOM

Lucy goes to her dresser lamp and turns the lamp up and hangs  
up her shawl, as Stride, sitting on her bed, is getting  
dressed.

**STRIDE  
**I found you less than enthusiastic  
tonight, Lucy.

**LUCY  
**_(hides her note behind her  
__back)  
_Well, I do my best sir!

**STRIDE  
**No, Lucy, your best would have  
resulted in a satisfied customer.

He reaches around her and takes the note.

**LUCY  
**Don't, please, don't.

He opens the note and sees...

**STRIDE  
**From Doctor Jekyll?!  
_(reads)  
_"My dear Miss Lucy. I regret more  
than I can ever express that my  
private misfortune has prevented me  
from seeing you again. I have found  
in you a tender and loving light  
during these past dark days. I hope  
you will accept the enclosed as a  
small repayment for the lesson you  
have taught me. Leave London, I beg  
you, and begin again, secure in the  
knowledge that I shall never forget  
you. Henry Jekyll."  
_(a thin smile)  
_Well, well – it looks like your  
Harley Street friend is living the  
high and mighty one day and bedding  
the likes of you the next!

He puts on his coat and puts the note in the pocket.

**LUCY  
**What are ya doin' with that?

**STRIDE  
**That is none of your concern!

He gets his hat and starts to leave.

**LUCY  
**'Enry Jekyll is the only one 'oo  
don't treat me like a whore!

Her comment reminds him – he pulls out some money and thrusts  
it into her hand.

**STRIDE  
**Well, at least you know what you  
are!

He hurries out, and can be heard descending the same hollow  
steps. Lucy sits on her bed, staring at the money. She throws  
it down in disgust.

A loud clap of thunder startles her. She blows out the oil  
lamp, goes to a window and pulls back the ragged drape. After  
a moment, a lightning flash, followed almost immediately by a  
more distant rumble of thunder. She stands at the window,  
watching the storm gather.

SONG: "A NEW LIFE"

**LUCY  
**A NEW LIFE –  
WHAT I WOULDN'T GIVE TO HAVE  
A NEW LIFE!  
ONE THING I HAVE LEARNED  
AS I GO THROUGH LIFE –  
NOTHING IS FOR FREE ALONG THE WAY

A NEW START –  
THAT'S THE THING I NEED TO GIVE ME A NEW HEART –  
HALF THE CHANCE IN LIFE TO FIND  
A NEW PART  
JUST A SIMPLE ROLE THAT I CAN PLAY

She pulls Jekyll's money out of her corset and looks at it.

**LUCY (CONT'D)  
**A NEW HOPE –  
SOMETHING TO CONVINCE ME TO  
RENEW HOPE  
A NEW DAY –  
BRIGHT ENOUGH TO HELP ME  
FIND MY WAY

A NEW CHANCE –  
ONE THAT MAYBE HAS  
A TOUCH OF ROMANCE  
WHERE CAN IT BE?  
A CHANCE FOR ME?

A NEW DREAM –  
I HAVE ONE I KNOW THAT  
VERY FEW DREAM  
I WOULD LIKE TO SEE THAT  
OVERDUE DREAM  
EVEN THOUGH IT NEVER MAY COME TRUE

She pulls a suitcase out from under her bed and starts to  
pack.

**LUCY (CONT'D)  
**A NEW LOVE –  
THOUGH I KNOW THERE'S NO SUCH THING AS TRUE LOVE  
EVEN SO, ALTHOUGH I  
NEVER KNEW LOVE,  
STILL I FEEL  
THAT ONE DREAM IS MY DUE!

A NEW WORLD –  
THIS ONE THING  
I WANT TO ASK OF YOU, WORLD  
ONCE BEFORE IT'S TIME TO  
SAY ADIEU, WORLD  
ONE SWEET CHANCE  
TO PROVE THE CYNICS WRONG!

A NEW LIFE –  
MORE AND MORE I'M SURE  
AS I GO THROUGH LIFE,  
JUST TO PLAY THE GAME  
AND TO PURSUE LIFE  
JUST TO SHARE ITS PLEASURES  
AND BELONG...  
THAT'S WHAT I'VE BEEN HERE FOR  
ALL ALONG!  
EACH DAY'S A BRAND NEW LIFE!

She puts on her shawl and picks up her suitcase as the storm  
continues outside; frequent interruptions of lightning and  
thunder. In one flash of lightning, Lucy is alone; but in the  
next flash, a DARK FIGURE is seen standing behind her,  
leaning over her. It is as though he appeared in an instant,  
from nowhere.

Then, sudden complete darkness, and the loudest explosion of  
thunder yet.

A match is struck, and the oil lamp is lit. Edward Hyde  
stands by the bed. He blows out the match, and, at the same  
moment, Lucy turns.

She breathes in sharply, stifling a cry. Hyde smiles at her,  
baring his teeth like an animal, then sits beside her.  
Lightning and thunder continue, intermittently.

**HYDE  
**Why, Lucy... I thought you'd be  
more pleased to see me.

**LUCY  
**_(frightened)  
_What is it ya want from me?

**HYDE  
**What every lover wants –  
compassion, companionship...  
_(looks at her)  
_Honesty.

**LUCY  
**Sir, I don't know what ya mean?

He looks down at the suitcase in her hand.

**HYDE  
**Lucy... you weren't thinking of  
leaving the city, now were you?

Too frightened to answer she nods her head "no."

**HYDE (CONT'D)  
**No, not without saying goodbye  
first. I warned you, Lucy.  
_(sees the rumpled bedding)  
_You've had another visitor this  
evening?

**LUCY  
**No, not really.

He begins to undress her, down to her corset, as he speaks.

**HYDE  
**It wasn't the Doctor himself, was  
it? No... Henry's such a very busy  
man.  
_(laughs: a rasp)  
_Your friendship with Dr. Jekyll has  
hurt me very deeply. What is it you  
see in him that you cannot find in  
me?

He smells the clothes he has taken from her before putting  
them on the chest of drawers.

**LUCY  
**'E was kind to me, that's all.

**HYDE  
**He's a very weak man. Undependable.  
Not like me at all.  
_(seated on the bed now)  
_Come to me now. Close. Closer.

He laughs quietly but dangerously.

She looks into his eyes, then slowly drags herself toward  
him. He reaches out and embraces her tightly, her head  
against his chest, tucked under his chin.

**LUCY  
**Please...!

**HYDE  
**Shhh...

As he sings to her, gently, he reveals his true identity to  
her. He sings back to her what she thought in Jekyll's study.  
He caresses and kisses her back, where the wound was.

SONG: "SYMPATHY, TENDERNESS" (reprise)

**HYDE (CONT'D)  
**SYMPATHY, TENDERNESS,  
WARM AS THE SUMMER  
OFFER ME THEIR EMBRACE  
FRIENDLINESS, GENTLENESS,

She slowly begins to realize Hyde is actually Jekyll. He  
slowly takes a long knife from beneath his grey-brown cape.

**HYDE (CONT'D)  
**STRANGERS TO MY LIFE,  
THEY ARE THERE IN THIS FACE

A loud peal of thunder interrupts the song.

**LUCY  
**'Enry...?!

Lucy remains frozen, trembling but entranced, as Hyde, in  
agonizing slow-motion, stabs her, first in the back, then  
deeply into her stomach, then – almost like a slow caress –  
slits her throat as he kisses her. Finally, he releases her  
body, and it slumps back onto the bed, like a rag doll.

Hyde stands and wipes the blood off the knife blade on the  
rumpled bedclothes. Suddenly, his body is shaken by a spasm –  
then another and another. He falls to his knees, gasping for  
air. He cries out in pain and braces himself against the  
bedstead, burying his face in the blood-stained sheets.

A massive shudder passes through him, as he utters  
indiscernible words in a guttural and internal fight; and,  
when he raises his blood-stained face, it is that of Doctor  
Henry Jekyll. He stands with difficulty, staring aghast at  
Lucy's contorted bloody form.

**JEKYLL  
**What have I done?!

Then he sees the long knife in his hand, and throws it away  
from him, as far as he can. He gazes down at the dead girl,  
unable to look away.

**JEKYLL (CONT'D)  
**Oh, God, what have I done?...

Finally managing to tear himself away from the defiled bed,  
wrapping the fog-colored cape, now stained with blood, around  
him, he plunges through the narrow door, and can be heard  
running down the hollow steps, out into the night. A long,  
low, distant roll of thunder – then "the angels" are heard,  
"weeping" – the innocent plaintive chant rises toward Heaven  
and blends with the thunder.

EXT. STREETS OF LONDON - NIGHT

As Jekyll runs to get away, he is in the nightmare of his  
full realization of all the destruction he has done.

SONG: "THE WORLD HAS GONE INSANE"

**JEKYLL  
**THE WORLD HAS GONE INSANE!  
AND PARASITES  
ARE EATING AT MY BRAIN!  
AND NOTHING  
IS THE WAY IT WAS BEFORE!  
A PACK OF WOLVES  
IS HOWLING AT MY DOOR!

I'M LIVING IN A NON-STOP NIGHTMARE!  
DEAD MEN'S DREAMS!  
FILLED WITH SCREAMING PAIN!  
HURLING ME TO MAD EXTREMES  
IN A WORLD THAT'S GONE INSANE!

THE WORLD HAS LOST ITS HEAD!  
AND EVERY EVIL HOUR  
IS FILLED WITH DREAD!  
I'M FLOATING ON A LAKE –  
BUT UPSIDE DOWN!  
AND WHEN I TRY TO BREATHE,  
I START TO DROWN!

As each horrible death floods his memory, he is physically  
met with each DEAD BOARD MEMBER face to face: DEAD SAVAGE;  
DEAD BISHOP; DEAD GLOSSOP; DEAD PROOPS; DEAD LADY  
BEACONSFIELD. They block him in every direction he tries to  
run.

LIGHTNING and THUNDER continue, building out of control as he  
stumbles to get away from each of them.

**JEKYLL (CONT'D)  
**I CANNOT SPEAK AS  
NAMELESS GHOSTS AND FACELESS GHOULS  
BID ME JOIN THE DEAD!  
NO ONE TELLS THESE GRUESOME FOOLS  
THAT THE WORLD HAS LOST ITS HEAD!

FIENDISH CREATURES  
LEAVE THEIR GRAVES TO TAUNT ME!  
OLD FRIENDS  
RISEN FROM THE DEAD TO HAUNT ME!  
GOD FORSAKEN IMAGES THAT DAUNT ME,  
DROWNING  
IN AN ENDLESS FLOOD OF BLOOD!

The walking dead encroach upon him, surround him, and drive  
him onward, as Jekyll's Harley Street residence comes into  
view.

**JEKYLL (CONT'D)  
**THE WORLD HAS GONE BERSERK!  
AND HIDING IN THE MURK,  
NEW MONSTERS LURK!  
I SEE A SEA OF SNAKES  
UPON THE FLOOR!  
I SEE THE REAPER GRINNING  
AT MY DOOR!  
I SCREAM IN SILENCE!  
BAD IS GOOD, AND GOOD IS BAD!  
SACRED IS PROFANE!  
AND IT'S WISER TO BE MAD...

IN A WORLD THAT'S GONE INSANE!

INT. DR. JEKYLL'S LABORATORY - NIGHT

Sounds of the storm continue, muffled, a heavy rainfall now,  
occasional glowing lightning high in the heavens, and muted  
thunder; Dr. Jekyll's devastated laboratory, as before.

Empty for a moment, then Jekyll throws the laboratory door  
open and staggers into the room, still clad in Hyde's grey-  
brown disguise. He slams the laboratory door behind himself.

Instead of turning up the gaslight, he ignites the several  
gas and oil flames which are a part of his lab equipment, and  
turns them all up full. The disordered laboratory is lit by  
their flickering glare.

Jekyll snatches up the journal of his work from the desk,  
uses it to sweep various apparatus from various laboratory  
tables; then, in a frenzy, he sets the journal on fire over  
one of the laboratory burners, waits until it is flaming  
brightly, and drops it into a basin.

He goes to the enormous gilt-framed mirror. He stares at his  
soiled reflection in the eerie light of the many flames.

SONG: "CONFRONTATION"

**JEKYLL  
**IT'S OVER NOW, I KNOW INSIDE!  
NO ONE MUST EVER KNOW  
THE SORRY TALE OF EDWARD HYDE  
AND THOSE WHO'VE DIED...  
NO ONE MUST EVER KNOW!

THEY'D ONLY SEE THE TRAGEDY  
THEY'D NOT SEE MY INTENT!  
THE SHADOW OF HYDE'S EVIL  
WOULD FOREVER KILL  
THE GOOD THAT I HAD MEANT

He has picked up a vial and is about to drink the antidote –

**JEKYLL (CONT'D)  
**AM I A GOOD MAN?  
AM I A MAD MAN?  
IT'S SUCH A FINE LINE  
BETWEEN A GOOD MAN AND A...

His voice is strangled, as he stares into the enormous  
mirror, and his reflection changes, almost instantly, into  
the ape-like grinning scowl of Edward Hyde. In the mirror,  
but very real, Hyde laughs hideously.

Jekyll retreats into the laboratory a few steps, but his  
reflection remains that of his "other self," and it now  
addresses him, in its rasping, animal growl.

(The following is a mental and actual physical struggle  
between Jekyll trying to drink the antidote – and Hyde trying  
to prevent it.)

**HYDE  
**DO YOU REALLY THINK  
THAT I WOULD EVER LET YOU GO?  
DO YOU THINK I'D EVER SET YOU FREE?  
IF YOU DO, I'M SAD TO SAY  
IT SIMPLY ISN'T SO  
YOU WILL NEVER GET AWAY FROM ME!

**JEKYLL  
**ALL THAT YOU ARE  
IS A FACE IN THE MIRROR  
I CLOSE MY EYES AND YOU DISAPPEAR!

**HYDE  
**I'M WHAT YOU FACE  
WHEN YOU FACE IN THE MIRROR  
LONG AS YOU LIVE,  
I WILL STILL BE HERE!

**JEKYLL  
**ALL THAT YOU ARE  
IS THE END OF A NIGHTMARE  
ALL THAT YOU ARE IS A DYING SCREAM!  
AFTER TONIGHT,  
I SHALL END THIS DEMON DREAM!

**HYDE  
**THIS IS NOT A DREAM, MY FRIEND,  
AND IT WILL NEVER END!  
THIS IS THE NIGHTMARE THAT GOES ON!  
HYDE IS HERE TO STAY,  
NO MATTER WHAT YOU MAY PRETEND,  
AND HE'LL FLOURISH  
LONG AFTER YOU'RE GONE!

**JEKYLL  
**SOON YOU WILL DIE  
AND MY SILENCE WILL HIDE YOU!  
YOU CANNOT CHOOSE  
BUT TO LOSE CONTROL!

**HYDE  
**YOU CAN'T CONTROL ME!  
I LIVE DEEP INSIDE YOU!  
EACH DAY YOU'LL FEEL ME  
DEVOUR YOUR SOUL!

**JEKYLL  
**I DON'T NEED YOU TO SURVIVE  
LIKE YOU NEED ME!  
I'LL BECOME WHOLE  
AS YOU DANCE WITH DEATH!  
AND I'LL REJOICE  
AS YOU BREATHE YOUR FINAL BREATH!

He convulses, as Hyde struggles to re-enter him.

**HYDE  
**FOR I'LL LIVE INSIDE YOU FOREVER!  
WITH SATAN HIMSELF BY MY SIDE!  
AND I KNOW THAT NOW AND FOREVER  
THEY'LL NEVER BE ABLE TO SEPARATE  
JEKYLL FROM HYDE!

**JEKYLL  
**CAN'T YOU SEE?  
IT'S OVER NOW!  
IT'S TIME TO DIE!

**HYDE  
**NO, NOT I,  
ONLY YOU!

**JEKYLL  
**IF I DIE,  
YOU DIE TOO!

**HYDE  
**YOU'LL DIE IN ME  
I'LL BE YOU!

**JEKYLL  
**DAMN YOU, HYDE!  
SET ME FREE!

**HYDE  
**CAN'T YOU SEE?  
YOU ARE ME!

**JEKYLL  
**NO!  
DEEP INSIDE!

**HYDE  
**I AM YOU  
YOU ARE HYDE!

**JEKYLL  
**No, never!

**HYDE  
**Yes! Forever!

Jekyll succeeds in taking the antidote. The vessel still  
glows and pulses faintly, magnesium white.

**JEKYLL  
**God damn you, Hyde! Take all your  
evil deeds and rot in Hell!

**HYDE  
**_(though his voice has  
__become weaker and he has  
__fallen to one knee)  
_I'll see you there, Jekyll!

Hyde laughs, vicious mockery incarnate. Jekyll hurls the  
glowing beaker at the enormous mirror, shattering it and the  
vision of Edward Hyde.

**JEKYLL  
**NEVER!

At the same moment, the several flaring burners in the  
laboratory are instantly extinguished. Sudden darkness,  
permeated by a bitter chemical smoke.


	13. Chapter 10

DARKNESS

In the blackness is heard...

**JEKYLL (V.O.)**  
November 16th – final entry. It is  
over. Edward Hyde walked me through  
the very gates of Hell, and the  
gruesome shadows of his evil shall  
forever haunt me. The way back has  
been littered with the corpses of  
my shattered dreams. Yet, back from  
the dead I have come, my salvation  
found in the distant sound of  
wedding bells.

A very faint echo of "the angels weeping" seems to cue the soundtrack.

The music is cued by the tolling of a bell.

INT. ST. ANNE'S CHURCH - WESTMINSTER - DAY

The bell continues, sounding more joyous all the time. The  
ancient severe church is sumptuously but tastefully decorated  
with white blossoms, ribbons and draperies. Through the tall,  
narrow, faintly tinted windows on one side fall long  
rectangles of sunlight.

The MINISTER appears at the decorated high altar. A number of  
WEDDING GUESTS, seated on either side of the main aisle, look  
down the aisle, watching for the bride's approach.

The sound of the bells evolves into an ominous vamp as Stride  
enters.

SONG: "FAÇADE" (reprise)

**STRIDE (V.O.)**  
IF YOU LIVE AROUND HERE  
LOTS OF PEOPLE, I FEAR  
WILL MAKE PROMISES  
THEY WILL NOT HONOR, MY DEAR  
AND THE TRUTH IS  
YOU END UP GETTING SCARRED.

INT. BRIDAL SUITE

Emma's wedding veil and bouquet rest on a vanity table as  
Stride enters. He pulls Jekyll's letter out from his coat  
pocket.

**STRIDE (V.O.)**  
THERE'S A BEAST AT THE DOOR  
AND HE'S WILD AND FREE  
BUT WE DON'T LET HIM IN  
'CAUSE WE DON'T WANT TO SEE  
WHAT IS LURKING  
RIGHT BEHIND THE FAÇADE!

Stride places the letter on Emma's vanity table.

INT. SANCTUARY

As the wedding guests congregate, Stride joins them.

**ALL (V.O.)**  
MAN IS NOT ONE BUT TWO  
HE IS EVIL AND GOOD  
AND HE WALKS THE FINE LINE  
THAT HE'D CROSS IF HE COULD!  
AND HE'S WAITING...  
HE'S JUST WAITING...  
WE'RE ALL WAITING...

INT. BRIDAL SUITE

Emma walks into her bridal suite to primp in the mirror. She  
sees the letter and opens it, but before she can read it, Sir  
Danvers enters. She sets the letter down and turns to him,  
smiling.

SONG: "LETTING GO"

**DANVERS**  
I'M SCARED, MY CHILD,  
BECAUSE I'M GOING TO LOSE YOU.  
I FIND IT VERY HARD TO LET YOU GO!

**EMMA**  
PAPA, IF YOU TRIED TO,  
YOU COULD NEVER LOSE ME!  
DARLING FATHER!  
I STILL LOVE YOU  
MORE THAN YOU WILL EVER KNOW!  
BUT IF WE WANT OUR LOVE TO GROW

**DANVERS**  
I KNOW IT'S TIME;  
I HAVE TO LET YOU GO.

**BOTH**  
WE MUSTN'T BE AFRAID OF LETTING GO.

**EMMA**  
I love you, father.

They hug and Sir Danvers leaves. Emma turns back to the  
vanity table and picks up the letter and begins to read. Her  
face drops and she sinks onto her chair, continuing to read.

INT. GROOM'S SUITE

Utterson and Jekyll are finishing getting ready.

**UTTERSON**  
_(looking in the mirror,  
straightening his tie)_  
Well, Henry, you're a lucky man.

As Utterson turns to him, Jekyll suddenly doubles over in  
pain.

**JEKYLL**  
Don't make a fuss – terrible  
pain... get me out of here... I  
need to breathe.

**UTTERSON**  
Henry! What is it?

Jekyll collapses as Utterson holds him.

SONG: "THE WEDDING"

**JEKYLL**  
OH, GOD, WHAT NOW? –  
OH GOD, NOT NOW!  
HELP ME SOMEHOW!  
PLEASE TAKE THE PAIN AWAY!

FEEL IT FILL ME!  
THIS WILL KILL ME!  
PLEASE, GOD, WILL ME  
SOMEHOW TO FIGHT, I PRAY!  
OH, PLEASE HELP ME! –

Utterson helps him up.

**JEKYLL (CONT'D)**  
GOD HAVE MERCY!  
DON'T LET HER SEE!  
NOT ON OUR WEDDING DAY!

Pulling away from Utterson, he runs out of the groom's room  
(a sustained scream on the word "day"). Utterson runs after  
him.

INT. SANCTUARY

With lightning speed, Jekyll is careening down the main aisle  
of the church, toward the entrance, toward the CAMERA. There  
is a huge commotion. Utterson tries to stop him, but Jekyll  
shoves Utterson out of the way. The wedding guests are frozen  
in place, watching.

Emma runs out of the bridal room.

**EMMA**  
Henry? ...Henry!

As soon as Jekyll sees Emma, he turns to run once more, but  
he falls to his knees, doubled-over in silent pain. Emma runs  
to Utterson's side.

He screams in anguish. The scream, before it dies, becomes a  
feral growl; and as Sir Danvers rushes up to confront Jekyll,  
he is confronted by Edward Hyde, who rises into an ape-like  
stance.

**DANVERS**  
In God's name, Doctor Jekyll –!

**HYDE**  
_(roars)_  
There is no Doctor Jekyll! There is  
only Edward Hyde!

As he turns to them, grinning, Emma screams and the guests  
react in horror. Hyde laughs madly, and reaches out for her.  
Stride steps between them, brandishing his ebony walking  
stick.

**STRIDE**  
Damn you Jekyll... Enough!

**HYDE**  
Ahh... Mister Stride!  
_(slowly turning to him)_  
Enough, indeed!

He reaches out one claw-like hand, and Stride raises the  
walking stick, preparing to strike.

But Hyde is too fast for him. He seizes the ebony stick, and  
uses it to pull Stride roughly up against him. He breaks  
Stride's grip on the stick by swiveling him sharply around,  
then pulls the stick back stiffly against Stride's throat.  
Stride reaches for Hyde, then for the stick, but all in vain.  
With the elated roar of a victorious beast, Hyde pulls the  
stick back savagely, snapping Stride's neck as though he were  
a wooden puppet.

Emma cries out, as Hyde steps back and allows Stride's body  
to sag to the floor. Then Hyde moves toward Emma again.

**DANVERS**  
For God's sake, somebody stop him!

TWO MEN step forward, but Hyde shoves them back.

**HYDE**  
Emma, my love!

Hyde moves slowly toward Emma.

Utterson pulls a gun. He advances on the rasping, ape-like  
figure.

**UTTERSON**  
Henry stay back! Don't touch her!

Hyde swivels and sees Utterson and the gun.

**UTTERSON (CONT'D)**  
I beg you! Stop, stop now!

Hyde hesitates for only an instant, then laughs like a  
howling animal, and starts toward Emma, leaving Utterson no  
choice.

Utterson fires the gun, stopping Hyde in his tracks. Hyde  
drops to his knees as Emma runs to him. Crowd reaction during  
this whole scene.

**EMMA**  
Henry! Oh, God! Henry!

**UTTERSON**  
Emma, no! Stay back!

Emma crouches next to Hyde.

**EMMA**  
Henry? Henry, it's me! If this is  
you, Henry, show me!

Totally unexpected – Hyde's arm thrusts up and grabs Emma by  
the throat. He leaps to his feet, grabbing her from behind.  
Using her as a shield, he starts seeking to escape.

**DANVERS**  
Stop him!

A few MEN hesitantly move in.

**HYDE**  
Stay! Stay away – or she dies!

He drags Emma another step or two forward, then stops,  
panting erratically. Emma reaches up and touches his  
contorted face with one hand.

**EMMA**  
Henry! I know you can hear me.  
Henry, I know it is you... and I  
know you would never harm me!  
Never. Let me go. Henry, please...  
Let me go...

Hyde growls again, low in his throat, and holds her close, as  
though to crush her. The others freeze where they are.

After a long moment, Hyde suddenly lets his arms drop wearily  
to his sides, weakened by Emma's unwavering love and faith,  
and Emma slides from his grasp, gasping and choking. She  
falls at the steps of the altar and covers her face with both  
hands, sobbing.

Sir Danvers breaks free from the wedding guests and rushes to  
his daughter. He raises her to her feet, as Jekyll slouches  
away, exhausted, and turns toward Utterson and looks into  
Utterson's eyes, pleading.

**HYDE**  
_(not in Jekyll's voice,  
but with his intonation;  
opening his arms and  
pleading in desperate  
anguish)_  
Do it John. I beg you – set me  
free. Set us all free.

Utterson understands and points the gun at Jekyll. His hand  
trembles.

**UTTERSON**  
_(he hesitates)_  
I – I can't.

Utterson lowers his gun. Jekyll stumbles away in  
disappointment and shame.

Then suddenly, with a beastly growl, Hyde turns and advances  
straight at Utterson. Utterson has no choice...

**UTTERSON (CONT'D)**  
Forgive me!

Utterson shoots one – two – three times, as though he were  
facing a charging animal. Jekyll/Hyde gasps and looks at  
Utterson piteously, smiling. He staggers and falls onto the  
altar steps.

**EMMA**  
No!

Emma pulls free of Sir Danvers, gently but firmly, and moves  
to where Hyde has fallen. She kneels too, and takes Jekyll  
into her arms. She embraces him for a long moment, and, when  
she lets his head sink back into her lap, he is Henry Jekyll  
again, completely, finally.

**JEKYLL**  
Emma? ...Emma! ...Emma!

Emma hushes him as he touches her face.

SONG: "ONCE UPON A DREAM" (reprise)

**EMMA**  
ONCE UPON A DREAM,  
I WAS LOST IN LOVE'S EMBRACE  
I HAD FOUND A PERFECT PLACE  
ONCE UPON A DREAM

**JEKYLL  
**ONCE UPON A DREAM,  
I CONCEIVED A PERFECT PLAN  
THAT WOULD CHANGE THE FACE OF MAN  
ONCE UPON A DREAM

**BOTH**  
AND I WAS UNAFRAID,  
THE DREAM WAS SO ENTICING,  
BUT NOW I SEE IT FADE...

His body goes limp as his hand falls.

**EMMA**  
AND I AM HERE ALONE

ONCE UPON A DREAM,  
YOU WERE HEAVEN-SENT TO ME  
WERE YOU NEVER MEANT TO BE?  
WAS IT JUST A DREAM?

COULD WE BEGIN AGAIN  
ONCE UPON A DREAM?

Weeping softly, she enfolds him in her arms, and rocks him  
like a frightened child.

Utterson stands and looks down at them. Sir Danvers moves to  
stand beside him. No one else moves.

Innocent voices, not of this earth, wind upward through the  
air, and the bell begins to toll again as we

FADE TO BLACK.


End file.
